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(uaRARYj 


SPIRE  OF  ST.   STEPHEN'S,   VIENNA. 


Frontispiece.  Vol.  II. 


THE    ILLUSTRATED 


HANDBOOK   OF  ARCHITECTUPiE: 


BEING  A  CONCISE  AND  POPULAR  ACCOUNT  OF 

THE  DIFFERENT  STYLES  OF  ARCHITECTURE  PREVAILING 
IN  ALL  AGES  AND  COUNTRIES. 


BY   JAMES    FERGUSSON,    M.R.I.B.A., 

AfTHOR  OF  '  PALACES  OF  NrNEVEH  AND  PEESEPOLIS  RESTORED.' 


IN  TWO  VOLUMES.— Vol.  II. 
WITH    850     ILLUSTEATIONS    ON    WOOD. 

LONDON: 
JOHN   MURRAY,  ALBEMARLE   STREET. 

1855. 


The  right  nf  'fraiislatum  is  reserved. 


Works  by  the  same  Author. 


ILLUSTRATIONS  OF  THE  ROCK-CUT  TEMPLES  OF  INDIA.     18 

I'lates  in  Tinted  Litliography,  folio;  witb  an  8vo.  Volume  of  Text,  I'lans,  kiz. 
21.  Is.  6d.    London,  Weale,  1845. 

PICTURESQUE  ILLUSTRATIONS  OF  ANCIENT  ARCHITECTURE 

IN  HIXDOSTAiSf.  24  Plates  in  coloured  Lithography,  with  Plans,  Woodcuts,  and 
explanatory  Text,  &c.    il.  is.    London,  Hogarth,  1847. 

AN  ESSAY  ON  THE  ANCIENT  TOPOGRAPHY  OF  JERUSALEM : 

with  restored  Plans  of  the  Temple,  and  with  Plans,  Sections,  and  Det;iils  of  the 
Church  built  by  Constantine  the  Great  over  the  Holy  Sepulchre,  now  known  as  the 
Mosque  of  Omar.     16s.,  or  21s.  half  Russia.    London,  AVeale,  1S4V. 

AN   ESSAY   ON   A    PROPOSED   NEW   SYSTEM   OF   FORTIFICA- 

TXOX,  with  Hints  for  its  Application  to  our  National  Defences.  12s.  6(Z.  London, 
Weale,  1849. 

THE    PERIL    OF    PORTSMOUTH.      French   Fleets  and   English 

Forts.    With  a  Plan.     Third  Edition.    3s.     London,  Murray,  1853. 

AN   HISTORICAL  INQUIRY  INTO  THE  TRUE  PRINCIPLES  OF 

BEAUTY  IN  ART,  more  especially  with  reference  to  Architecture.  Royal  8vo. 
31s.  6d.     London,  Longmans,  1849. 

OBSERVATIONS  ON  THE  BRITISH  MUSEUM,  NATIONAL  GAL- 

LEP.Y,  and  NATIONAL  RECORD  OFFICE;  with  Suggestions  for  their  Improve- 
ment.   Svo.    London,  Weale,  1849. 

THE    PALACES  OF   NINEVEH  AND   PERSEPOLIS    RESTORED; 

An  Essay  on  Ancient  Assyrian  and  Persian  Architecture.  8vo.  16s.  London, 
Murray,  1851. 


LONDON:   PRINTED  Bt  WILLIAM  CIX>WES  AMD  SONS,  STAMFORD  STREIiT, 
AND  CHARING  CROSS. 


PART    11. 


CHRISTIAN    ARCHITECTURE. 


BOOK    I. 

ROMANESQUE 


CHAPTER     L 


INTRODUCTORY. 


Like  the  istudy  of  all  modern  history,  that  of  Christian  architecture 
commences  with  Kome,  and  not,  as  is  sometimes  supposed,  where  the 
history  of  Eome  leaves  off,  hut  far  back  in  the  Empire,  if  not,  indeed, 
almost  in  the  Eepublic. 

As  has  already  been  pointed  ont,  the  whole  history  of  the  art  in  Im- 
perial Rome  is  that  of  a  style  in  course  of  transition,  beginning  with  a 
purely  Pagan  or  Grecian  stylo  in  the  age  of  Augustus,  and  passing 
into  one  almost  wholly  Christian  in  the  age  of  Constantino. 

At  the  first  epoch  of  the  Empire  the  temple  architecture  of  Eome 
consisted  in  an  external  arrangement  of  columns,  without  arches  or 
vaults,  and  wholly  unsuited  to  the  purposes  of  Christian  worship. 
Towards  the  end  of  the  period  it  had  become  an  internal  architecture, 
using  arches  and  vaults  almost  entirely  to  the  exclusion  of  the 
columnar  orders,  except  as  ornaments,  and  so  perfectly  adapted  to 
(Jliristian  forms,  that  little  or  no  essential  change  has  taken  place  in 
them  from  that  time  to  the  present  day.  A  basilica  of  the  form  adopted 
in  the  first  century  after  Constantino  is  as  suited  now  as  it  was  then 
to  the  forms  and  ceremonies  of  the  Christian  ritual. 

The  fact  seems  to  be,  that  during  the  first  three  centuries  after  the 
(Jhristian  era  an  immense  change  was  silently  but  certainly  working 
its  way  in  men's  minds.  The  old  religion  was  effete :  the  best  men, 
the  most  intellectual  spirits  of  the  age  had  no  faith  in  it ;  and  the  new 
religion  with  all  its  important  conseqiiences  was  gradually  supplying 
its  place  in  the  minds  of  men  long  before  it  was  adopted  as  a  form. 

There  is  thus  no  real  distinction  between  the  Emilian  or  Ulpian 
basilicas  and  those  which  Constantino  erected  for  the  use  of  the 
early  Christian  republic.  iSior  is  it  possible,  in  such  a  series  as  the 
Pantheon,  the  Temple  of  Minerva  Medica,  and  the  Church  of  San 
Vitale  at  Eavenna,  to  point  out  what  part  really  belongs  to  Pagan, 
and  what  to  Christian  art. 

It  is  true  that  Constantino  fixed  the  epoch  of  completed  transition, 
and  gave  it  form  and  substance  ;  but  long  before  his  time  I*aganism 
was  impossible,  and  a  reform  inevitable.  The  feeling  of  the  world 
had  changed — its  form  of  utterance  followed  as  a  matter  of  course. 


o^ 


47-J  llOMANESQUE  AKCHITECTUKE.  I'.ook  1. 

\'i(\viMl  in  lliis  li<ilit,  it  is  iiii[M>ssil)lo  to  separate  the  early  history  of 
Cliristiaii  ;ii-|  tVdiii  lliat  of  lm])crial  Komc.  The  sequence  is  so  iuiiiie- 
(liate,  and  tlie  ehaii<;e  so  gradual,  that  a  knowledge  of  the  fii'st  is  ahso- 
liitely  iiidisiiensalile  to  a  right  nnderstanding  of  the  second. 

Altliougli,  therefore,  to  ])]-event  needless  repetition,  and  breaking 
again  the  thread  of  the  subsequent  narrative,  it  has  been  deemed  ex- 
peilient  to  interpolate  the  Saracenic  styles  before  taking  up  the 
Clu-istiau,  it  will  be  understood  that,  philosophically  at  least,  these 
chapters  follow  inunedialely  on  those  which  treat  of  the  architecture 
of  lauperial  Eoiue ;  and  having  now  discussed  all  the  st3des  of  the 
world  except  the  Christian,  it  only  remains  to  follow  that  style  in  its 
two  great  branches,  the  Gothic  and  Byzantine,  till  both  perished 
before  the  rising  iuHuence  of  the  Renaissance. 

The  first  chapter  in  this  history  must  necessarily  be  devoted  to 
the  Romanesque  or  debased  Roman — the  first  form  which  Christian 
architecture  took  on  emancipating  itself  entirely  from  Pagan  in- 
Huence, 

This  style  prevailed  not  only  in  the  West,  but  in  the  East,  over  the 
whole  of  the  great  Roman  empire,  from  the  time  of  Constantine  to  that 
of  Justinian.  It  can  only,  however,  be  considered  as  a  second  stage 
of  transition,  which  after  two  centuries'  duration  branched  off  into  the 
two  great  divisions  of  Christian  architecture — the  Byzantine  and  the 
Gothic .  The  origin  of  these  two  styles  being  identical,  and  their 
duration  about  the  same,  it  is  almost  immaterial  which  is  first  taken 
up  and  followed  to  the  close. 

It  will  be  more  convenient  to  take  up  the  Western  styles  first,  not 
only  on  account  of  their  greater  importance,  but  because  they  flow 
more  consecutively  out  of  the  Romanesque,  and  throughout  their 
whole  history  remained  more  directly  under  its  influence  than  the 
more  Eastern  styles. 

After  the  age  of  Justinian  the  Byzantine  separated  itself  wholly 
from  the  Roman  tyj^es ;  but  this  was  not  the  case  in  the  West.  The 
Romanesque  prevailed  in  Rome  itself  during  the  whole  period  vi  the 
middle  ages,  and  in  the  1 6th  century  faded  by  almost  impei  c^eptible 
degrees  into  the  Renaissance.  It  prevailed  also  down  to  the  11th  and 
12th  centuries  on  both  shores  of  Italy,  and  in  the  south  of  France 
wherevei-  the  bai-barians  did  not  penetrate.  It  consequently  would 
(;ause  a  break  in  the  thread  of  the  narrative,  if,  after  carrying  the  Ro- 
manesque style  down  to  the  time  of  Justinian,  we  should  turn  aside  to 
the  subject  of  Byzantine  architecture,  and  then  resume  the  history  of 
the  Western  st^de,  till  we  find  it  mingling  with  and  influencing  the 
art  practised  by  the  barbarians  who  overthrew  the  Western  empire. 

KoMENCLATUllE. 

Before  proceeding  to  describe  any  of  these  styles,  it  is  necessary  to 
say  a  few  words  on  the  nomenclatuie  to  be-  adopted;  nttt  that  there  is 
really  any  difficulty  in  the  subject,  luit  tliat,  as  always  ha])])ens  in 
young  scieuces,  considerable  confusion  has  been  iutrodueed  by  liasty 


('J1A1-.  I.  INTRODUCTION.  475 

generalization  and  ill-judged  attempts  to  apply  a  system  of  names 
suited  to  preconceived  ideas,  instead  of  merely  affixing  such  names  as 
serve  best  to  describe  the  objects  spoken  of. 

In  speaking  for  instance  of  the  .styles  tliat  have  already  occupied 
our  attention,  it  has  been  sufficient  to  specify  Egyptian,  Assyrian, 
Persian,  or  Grecian  and  Roman  architecture  ;  subdividing  these,  when 
necessary,  either  by  mentioning  the  age  of  the  variety  \vc  Avished  to 
pai-ticidarize,  or  applying  to  it  some  dynastic  or  epochal  name  in. 
order  to  fix  its  age.  Thus  the  varieties  of  Egyptian  architecture  are 
identified  by-  describing  them  as  the  styles  of  the  4th  or  of  the  18th 
dynasty,  or  of  the  Ptolemy\s  or  P(jmans.  These  varieties  too  may  be 
farther  marked  by  the  names  of  kings  to  any  extent  required.  The 
ages  of  Pericles  and  Alexander  were  the  two  great  epochs  of  Grecian 
art,  and  names  either  before  or  after  these  may  be  taken  to  fix  the 
age  and  style  of  any  work  with  the  iitmost  precision.  So  in  Pome 
the  names  of  Augustus,  Nero,  or  Trajan ;  of  the  Antonines,  of  Cara- 
calla,  or  of  Constantino,  subdivide  their  art  without  confusion  or  mis- 
take, and  without  the  necessity  of  any  system.  But  after  this  age 
these  wise  and  simple  principles  of  nomenclature  have  been  aban- 
doned. It  has  become,  for  instance,  the  fashion  to  apply  the  term 
Byzantine  to  styles  as  unlike  anything  Byzantium  ever  saw  as  any 
one  style  can  be  to  another,  and  where  it  is  impossible  to  trace  any  in- 
fluence, direct  or  indirect,  that  capital  had  on  the  buildings  in  ques- 
tion. Romanesque  in  like  manner  is  applied  to  styles  as  essentially^ 
Barbarian  as  the  most  pointed  and  most  florid  Gothic.  It  has  been 
attempted  to  apply  the  name  Lombard  to  all  the  round  arched  styles 
of  Europe,  and  German  and  Teutonic  to  all  the  pointed  arched  styles, 
all  involving  the  assumption  of  theories  which,  so  far  from  being- 
granted,  are  generally  without  the  least  foimdation  in  fact. 

In  this  country  this  predilection  for  the  systematizing  of  styles  has 
been  pursued  with  more  assiduity  than  elsewhere,  and  one  nonien- 
chiture  has  succeeded  another  with  a  rapidity  that  has  rendered  con- 
fusion woi'se  confounded. 

One  of  the  earliest  and  best  attempts  was  that  of  liickman ;  he 
divided  our  native  art  into  four  divisions  :  Xoiman,  Early  English  oi' 
Lancet,  Decorated,  and  Perpendicular.  From  the  last  it  has  been 
found  requisite  to  separate  the  Tudor,  as  a  well-defined  variety  ;  and 
the  acknowledgment  of  Saxon  has  again  entitled  that  style  to  lank 
with  the  rest.  We  have  here,  therefore,  three  or  four  dynastic  names, 
and  as  many  technical  ones.  Latterly  several  attenq)ts  have  been 
made  to  im})rove  on  this,  but  generally  by  getting  rid  of  the  dynastie 
names  and  substituting  for  them  technical  ones^  derived  either  from 
the  window  tracery,  or  some  subordinate  peculiarity  which  the  names 
assigned  always  describe  briefly,  often  incorrectly,  and  after  all  convey- 
no  information.  The  terms  Saxon,  Korman,  Tudor,  Eliza])cthan,  and 
siuh  like,  however,  maintain  their  ground,  and  I  believe  a  far  moi-e 
philosophical  eourse  would  be  to  extend  these,  leaving  Ihv  technical 
names  merely  as  descriptive  affixes.  Thus  English  architecture  might 
1)L'    divided    into    Saxon,    Norman.    I'lanlagenet.    Kdwardian.     Ijancas- 


476  HOMANRSQUE  APCHITECTURE.  Book  1. 

trian,'  Tudor,  hikI  I<]Iizul)ctliim.  Jacobean  has  been  applied  to  the  next 
vai-iety,  while  that  whieh  follows,  iiieludiug  the  works  of  Inigo  Jones 
and  \Vren,  might  be  appropriately  distiiiguished  by  the  name  of  Stuart. 
Denominations  of  this  sort  admit  of  subdivisions  to  any  extent.  Thus 
the  styles  of  tlie  1st,  2nd,  or  ikxl  Edwards  are  sufficiently  distinct 
to  require  separate  names,  though  no  technical  term  could  point 
out  exactly  in  what  the  difference  consists.  Even  the  styles  of  the 
begimiing  and  end  of  the  long  reign  of  Edward  III.  require  to  be  dis- 
tinguished, and  can  easily  be  by  this  form  of  nomenclature,  but  can 
by  no  other  yet  proposed.  So  with  the  four  Georges  or  the  Stuarts, 
Lancastrian,  Plantagenet,  &c.  The  three  Eichards  by  a  singular 
coincidence  mark  three  ages  of  transition.  Even  without  these  adven- 
titious advantages,  a  name  so  given  marks  the  country  and  the  age 
without  fail,  and  describes  the  style  with  perfect  correctness,  without 
even  suggesting  the  necessity  of  a  system. 

Another  mode  of  attaining  the  same  end  has  been  partially  adopted 
by  the  French,  by  giving  the  date  instead  of  the  dynasty :  thus  they 
speak  of  their  styles  of  the  12th,  13th,  or  14th  centuries,  and  subdivide 
them  into  styles  of  the  "  first  half,"  "  second  half,"  or  commencement 
or  middle  of  each  of  the  centuries ;  a  process  as  unobjectionable  as 
the  one  above  described,  except  in  the  circumlocution  it  requires,  and 
the  desirability  of  finding  a  single  word  if  possible  to  express  our 
meaning. 

Whichever  of  these  two  last  systems  it  may  be  thought  most  expe- 
dient to  adopt,  the  great  desideratum  is  obtained  of  a  title  which  shall 
in  the  first  place  express  the  country  where  the  style  was  practised 
and  is  found,  and  secondly  the  age  to  which  it  belongs.  A  third  or 
technical  title  may  be  added  to  characterise  it,  but  this  is  always  un- 
necessary to  any  one  at  all  acquainted  with  the  subject ;  for  when  the 
coimtry  and  age  are  known,  the  style  is  far  more  clearly  suggested  than 
it  could  be  by  any  technical  term  drawn  from  one  of  its  })eculiarities. 

In  the  following  pages,  therefore,  the  words  Komanesque,  Lombard, 
Khenish,  I'^orman,  will  be  used  like  Spanish,  Sicilian,  or  any  other 
local  name,  only  in  the  sense  in  which  they  are  usiially  applied.  The 
subdivisions  as  to  time  will  be  marked  either  by  the  date  of  the  epoch 
or  some  king's  or  dynastic  name  which  clearly  marks  it,  and  technical 
terms  will  bo  used  as  sparingly  as  possible,  though  such  words  as 
round-arched,  or  pointed  Gothic,  flamboyant,  &c.,  seem  unobjection- 
able and  necessary  to  distinguish  classes. 

It  is  not  perhaps  necessary  to  say  more  on  this  siibject  here,  as  the 
development  of  these  principles  will  naturally  appear  in  the  course  of 
the  work,  and  will  be  easily  understood,  as  they  involve  no  system. 
It  is  only  therefore  requisite  to  explain  further  in  what   order  it  is 


'   In  writing   the   second  volnme  of  my  has  printed  and  jnililished  one  in  which  the 

'True    Principles    of    Beauty'    in    1847    I  principles  and  most  of  tlio  names  given  al)i)ve 

adoi)ted   this    mode    of  nomenclature   exclu-  are  announced.      The  niei-it  of  the  suggestion, 

sively.    That  hook,  however,  never  was  ])uh-  if  any,  therefore  belongs  to  him. 
lished,  and,  in  the  meanwhile,  Mr.   ( iarbett 


Chap.  1.  INTRODUCTION.  477 

proposed  to  describe  the  styles  of  Christian  art,  and  tlie  principal 
names  to  be  applied  to  them. 

The  first  is  most  properly  designated  Eomanesqiie,  or  modified — in 
this  instance  nnfortxuiately  debased — Eoman.  From  the  time  of  Con- 
stiintino  to  that  of  Justinian  it  pervaded  the  whole  empire,  and  no 
distinction  can  be  drawn  between  the  East  and  West  sufficient  to  war- 
rant their  separation.  Minute  differences  may  be  observed,  consti- 
tuting varieties — these  are  easily  marked  by  secondary  titles. 

With  Justinian  a  distinct  separation  takes  place,  the  limits  of  which 
may  be  generally  defined  as  follows : — If  a  line  be  drawn  from  the 
shores  of  the  Adriatic  to  the  shores  of  the  Baltic,  say  from  Fiume  to 
Konigsberg,  it  will  divide  Europe  into  two  nearly  equal  portions ;  of 
these  the  eastern  half  is  inhabited  by  Slaves,  Hitns,  Servians,  and 
other  races,  differing  considerably  from  those  to  the  westward,  gene- 
rally adhering  to  the  Greek  Church,  and  practising  a  style  of  archi- 
tecture correctly  called  the  Byzantine,  which  neither  influenced  nor 
was  influenced  by  that  of  tlie  West  after  the  age  of  Justinian.  To  the 
westward  of  this  line  tlie  case  was  very  different :  in  those  countries 
which  had  been  the  most  populous  and  were  most  completely  civilised 
under  the  Eoman  rule,  the  Eomanesqiie  style  continued  to  be  practised 
to  a  much  later  date  than  the  7th  century — in  Eavenna  and  Venice 
down  to  the  10th  or  11th  century,  with  the  solitary  but  important 
exception  of  St.  Mark's  of  Venice,  the  design  of  which  certainly 
belongs  to  the  East,  with  which  that  city  was  at  that  age  more  closely 
connected  than  with  Eome.  On  the  west  coast,  at  Florence  and  Pisa, 
it  continued  to  at  least  as  late  a  date,  and  in  the  south  of  France  it 
Avas  practised  till  the  12th  century  at  least,  though  Avith  a  difi'erence 
sufficiently  marked  to  obtain  for  it  the  distinguishing  name  of  Eo- 
mance  or  Provencal.  In  Spain  too  it  continued,  I  believe,  along  the 
Mediterranean  shore  to  as  late  a  period ;  but  that  land  is  still  archi- 
tecturally almost  tinknown. 

With  the  age  of  Charlemagne  a  new  form  of  art  arose,  to  which 
the  general  name  of  Gothic  may  be  correctly  applied,  meaning  thereby 
all  those  styles  which  were  introduced  by  the  barbarians  Avho  over- 
threw the  Eoman  Empire.  Acting  at  first  under  the  direct  influence 
of  Eome,  and  afterwards  guided  by  their  own  experience,  they  brought 
this  style  to  that  pitch  of  perfection  which  we  still  admire. 

It  has  been  objected  to  the  name  of  Gothic  that  it  was  first  used  as 
a  term  of  reproach,  and  is  still  often  so  used  in  common  parlance  ;  but 
it  is  never  now  so  applied  to  architecture — it  is  therefore  needless  to 
regard  this.  Another  and  more  important  objection  is  that,  though  the 
Goths  were  one  of  the  first  invading  tribes,  they  were  insignificant  in 
extent,  and  disaj)peared  from  the  scene  before  the  style  attained  any- 
thing like  perfection.  This  would  be  fatal  were  we  inventing  a  totally 
new  system  of  nomenclature ;  but  the  term  being  in  general  use,  and 
sufficiently  expressing  what  we  desire  to  express,  it  is  better  to  take 
it  than  to  sujyply  an  entirely  new  name.  We  would  bi-  understood 
therefore  to  apply  architecturally  the  term  Goth  to  all  those  Teutonic 
tribes  of  barbarians  who  overwlielmcd  the  Eoman  Empire,  and  in  tln' 


47S  IJOMAxXESQUK  ARCillTKCTURE.  H.-ok  T. 

ilavk  !ijj;cs  ostablislieJ  thomselvi's  within  its  iHiundaries.  So  defined,  it 
will  lie  r,imHl  liiat,  exactly  in  <lic  nitii)  in  wliicli  this  barbarian  element 
prevailed,  the  style  of  which  we  are  speaking  fiourislied  in  originality 
and  beanty  :  but  also  that  no  other  terni  or  national  name  will  coni- 
pi-ehend  all  those  various  ti'ibes  and  races  who  then  occupied  Europe. 
Teutonic,  German,  Frank,  or  Saxon,  each  exclude  several  great  families 
of  builders  ;  and  though  Gothic  may  not  be  correct  in  an  ethnographic 
point  of  view,  if  confined  to  architecture  as  above  defined  it  can  lead 
to  no  confusion,  but  on  the  contrary  includes  most  appropriately  not 
only  the  people,  but  the  style  tliey  practised. 

In  adopting  this  extension  of  the  term  Gothic  so  as  to  apply  it  to 
the  whole  style,  it  may  be  requisite  to  distinguish  between  round- 
arched  and  pointed-arched  Gothic,  or,  as  it  may  be  more  succinctly  ex- 
pressed, between  the  Round  and  I'ointed  styles.  Whatever  term  we 
use,  this  is  indispensable ;  for  Durham  and  York,  Spires  and  Cologne 
are  buildings  of  the  same  class,  and  must  be  regarded  as  belonging  to 
one  style :  the  mere  introduction  of  the  pointed  arch,  is  too  trivial  a 
difference  to  make  such  a  separation  as  has  hitherto  been  assumed  to 
exist. 

If  it  were  desirable  to  establish  a  new  name  in  lieu  of  Gothic,  by 
far  the  best  with  which  I  am  acquainted  would  be  Feudal  Architecture, 
as  the  style  of  which  we  are  speaking  arose  with  feudality,  attained 
perfection  with  that  system,  and  declined  and  expired  with  it.  More- 
over it  existed  in  all  those  countries  where  the  feudal  system  was 
introduced,  and  is  found  existing  in  those  only,  so  that  no  name  could 
he  more  appropriate  or  more  correctly  descriptive.  The  one  apparent 
objection  is  that  nine-tenths  of  the  buildings  we  now  find  are  eccle- 
siastical, and  we  genei'ally  apply  this  name  only  to  secular  institu- 
tions. The  Church,  however,  in  the  middle  ages  was  as  essentially  a 
part  of  the  feudal  system  as  the  state  itself,  and  bishops,  abbots,  and 
the  lower  grades  of  clergy,  were  as  essentiall}^  peers  and  fiefliolders  as 
the  barons  with  whom  they  were  associated.  It  may  at  a  future 
period  be  advantageous  to  introduce  this  new  name,  but  at  present  it 
seems  more  expedient  to  adhere  to  the  old  one,  with  only  the  exten- 
.'^ion  above  alluded  to. 

ArkangemExVt  of  Subject. 

It  is  perhaps  impossible  to  treat  so  extensive  and  so  complicated  a 
subject  without  some  degree  of  repetition  and  confusion ;  but  to  avoid 
this  as  far  as  may  be,  it  is  proposed  to  take  the  Enipii'e  of  CharlemagTie 
as  if  it  continued  entire,  treating  France,  Germany,  and  the  North  of 
Italy  as  one  great  architectural  kingdom,  as  within  this  boundar}^  we 
have  the  whole  history  of  the  art  developed,  and  every  peculiaiity 
successively  brought  forward. 

Regarding  it  in  this  light,  Lombardy  naturally  takes  the  first  place, 
as  the  part  of  the  kingdom  which  was  earliest  civilised,  and  where  the 
arts  first  attained  any  degree  of  consistency  or  perfection.  Its  history 
will  be  followed  for  the  time  in  which  it  remained  an  indigenous 
Round-arched  style. 


CiiAr.  1.  INTRODUCTION.  4711 

From  this  tlie  transition  is  easy  to  the  German  or  Ilhenisli  stylo, 
tlie  valleys  of  the  Po  and  of  the  Rhino  forming  in  fact  only  two  important 
divisions  of  the  great  (Jermanic  Empire  from  the  time  of  Chaidemagne 
to  the  doAvnfall  of  the  Hohenstanfens,  with  whom  also  ended  the 
Hound-Gothic  style  of  these  two  countries. 

Contemporary  with  these,  but  differing  in  many  essential  respects, 
were  the  Round  arched  Gothic  styles  of  France.  These,  though  ex- 
ceedingly and  perplexingly  various,  never  became  so  important  as  the 
Lombard  or  Rhenish ;  nor  did  any  of  them,  except  the  styles  of  Au- 
vergno  and  Normandy,  acquire  any  very  distinct  individuality.  Still 
they  all  possess  considerable  interest,  and  some  of  them  show  a 
degree  of  elegance  almost  unrivalled  in  that  age,  so  that  all  must 
at  least  be  mentioned  and  defined. 

In  speaking  of  the  Pointed  Gothic  styles  the  course  to  be  pursued 
is  the  reverse  of  this.  There  can  now  be  no  doubt  but  that  the  Pointed 
style  was  invented  in  France,  and  brought  to  a  great  degree  of  per- 
fection there  before  the  neighbouring  countries  took  it  up.  So  that, 
continuing  the  last  chapter,  we  naturally  pursue  the  thread  of  history, 
and,  following  it,  have  before  us  the  whole  history  of  the  Gothic  style 
before  leaving  the  French  soil. 

After  this  it  is  easy  to  trace  its  introduction  from  France  into 
Germany,  and  to  point  out  the  various  modifications  it  underwent  in 
that  countr3%  Few  of  these  can  be  called  improvements,  though,  from 
their  being  generally  of  the  best  age,  and  when  architecture  was  almost 
suspended  in  France  from  the  troubles  of  the  cotmtry,  the  accidental 
I'esult  is  that  Germany  possesses  some  Gothic  buildings  that  may  fairly 
rival  many  in  Fi-ance. 

Again,  the  introduction  of  this  style  from  France  and  Germany 
into  Italy  is  easily  traced  and  understood,  and  the  various  modifica- 
tions it  underwent  there — none  of  which  were  improvements — are  only 
too  easily  pointed  out.  We  thus  complete  a  perfect  cycle  of  the  art, 
tracing  it  from  its  origin  back  to  the  land  of  its  birth,  which  was  also 
that  of  its  earliest  decline,  and  where  it  first  was  superseded  by  the 
I'evival  of  the  old  Rt)man  transitional  style. 

After  this,  it  only  remains  to  devote  a  separate  chapter  to  each  of 
the  outlying  styles  not  included  in  the  above  enumei'ation.  First,  to 
Sicily  and  Apulia,  which  present  a  strange  admixture  of  Byzantine 
and  Saracenic  with  Romanesque  and  Gothic  feeling,  indications  of  a 
confusion  of  races  not  found  elsewhere. 

Another  chapter  will  include  Spain  and  Portugal,  where  again  we 
have  an  even  stronger  admixture  of  Saracenic  art,  giving  to  the 
Gothic  of  Spain  a  pecidiar  individuality  of  character  which  distin- 
guishes it  most  essentially  from  those  enumerated  above. 

From  this  we  pass  to  Great  Britain,  where  the  history  of  the  art  is 
veiy  similar  to  that  of  France ;  but  at  the  same  time  exhibiting  pecu- 
liarities well  deserving  of  attention,  and  more  interesting  to  us  from 
their  locality  than  almost  any  of  those  above  pointed  out. 

Our  euiunoration  concludes  with  Scandinavia,  a  country  regarding 
which  very  little   is   yet  known  in   an   architectural   point   of  aIcw, 


480  ROMANESQUE  ARCHITECTURE.  Book  I. 

llimi<2;li  its  Ktpund  Gothic  buildings  are  both  numerous  and  interesting. 
In  tlic  Pointed  style  it  has  few  buildings  of  importance,  and  these  are 
80  distinctly  copies  fiom  the  French,  that  little  need  be  said  about 
them. 

And  lastly,  to  avoid  complicating  the  main  subject,  it  may  be  neces- 
sary to  devote  sliort  chapters  to  point  out  the  peculiarities  found  in 
such  cotintrics  as  Holland  and  Pomerania,  avoiding  as  far  as  possible 
too  minute  a  subdivision,  and  only  distinguishing  those  styles  which 
can  be  defined  by  strongly  marked  architectui'al  pecidiarities. 


(;iiAi>.  II.  BASILICAS.  481 


CHAPTER    II. 
ROMANESQUE   STYLE. 


CONTENTS. 

Basilicas  at  Rome  —  Basilica  of  St.  Peter  —  St.  Paul'is  —  Basilicas  at  Ra\  enua 
Piacenza  —  Florence  —  Cathedral  of  Pisa  —  Toi'cello. 


CHRONOLOGY. 


DATES. 

Hoiiorius A.u.  395 

Valeutinian 425-435 

TbeoUoric,  King  of  the  Ostiogollis  .      .      .    493-525 

Justinian 527 

Alboin  Longimauus,  King  of  Lombardy   .     .      568 


riATES. 

Liutprand,  iiing  of  Lombardy    ....  a.d. 'fl2 

Astolphus 749 

Desiderius 756 

Conquest  by  Charlemagne 771 


Basilicas. 

One  of  the  most  remarkable  facts  connected  with  the  early  history 
of  the  Christian  religion  is,  that  neither  its  founder  nor  any  of  his 
more  immediate  successors  left  any  specific  directions  either  as  to  the 
liturgical  forms  of  worship  to  be  observed  by  his  followers,  nor  laid 
do-wn  any  rules  to  be  observed  in  the  government  of  the  newly  esta- 
blished church.  Under  these  circumstances  it  was  left  almosst  wholly 
to  those  to  Avhose  care  the  infant  congregation  was  entrusted,  to  frame 
such  regulations  for  its  guidance  as  the  exigencies  of  the  occasion 
might  dictate,  and  gradually  to  appoint  such  forms  of  worship  as 
might  seem  most  suitable  to  express  the  purity  of  the  new  faith,  but 
at  the  same  time  with  a  dignity  befitting  its  high  mission. 

In  Judea  these  ceremonies,  as  might  naturally  be  expected,  were 
strongly  tinctured  with  the  foi'ms  of  the  Mosaic  dispensation ;  but  it 
appears  to  have  been  in  Africa,  and  more  especially  in  the  pomp-loving 
and  ceremonious  Egypt,  that  fixed  liturgies  and  rites  first  became  an 
integral  part  of  the  (Christian  I'oligion.  In  those  coimtiies  far  from  the 
central  seat  of  government,  more  liberty  of  conscience  seems  to  have 
been  attained  at  an  early  period  than  would  have  been  tolei'ated  in 
the  capital.  Before  the  time  of  Constantine  they  possessed  not  only 
churches,  l)Tit  a  regularly  established  hierarchy,  and  a  form  of  worshij) 
similar  to  what  afterwards  obtained  throughout  the  whole  Christian 
world.  The  foim  of  government  of  the  church,  however,  was  long 
unsettled.  At  first  it  seems  merely  to  have  been,  that  the  most  re- 
spected individuals  of  each  isolated  congregation  were  selected  to  form 
a  councdl  to  advise  and  direct  their  fellow-Christians,  to  receive  and 
dispense  their  alms,  and  under  the  simple  but  revered  title  of  Pres- 

2  I 


4H2  lioMANEHQUE  AltrlllTECTURE.  Book  I. 

byters,  to  act  as  fathers  rather  than  as  governors  to  the  scattered  com- 
miniitics  1>3'  which  they  were  elected.  The  idea,  Jiowever,  of  such  a 
couucil  naturally  includes  that  of  a  president  to  guide  their  delibera- 
tions, and  give  unity  and  force  to  their  decisions ;  and  such  Ave  soon 
find  springing  up  under  the  title  of  Bishops,  or  Presbyter  Bishops,  as 
they  were  fii-st  called.  During  the  course  of  the  second  century  the 
latter  institution  seems  gradually  to  have  gained  strength  at  the 
expense  uf  the  power  of  the  presbyters,  whose  delegate  the  bishop  was 
assumed  to  be.  In  that  capacity  they  not  only  took  upon  themselves 
the  general  direction  of  the  affairs  of  the  church,  but  formed  them- 
selves into  separate  councils  and  synods,  meeting  in  the  provincial 
capitals  of  the  provinces  where  they  were  located.  These  meetings 
took  place  under  the  presidency  of  the  bishop  of  the  city  in  which 
they  met,  who  thus  assumed  to  be  the  chief  or  metropolitan.  They 
thus  formed  a  new  presb}i;ery  above  the  older  institution,  which  was 
thus  gradually  superseded — to  be  again  surpassed  by  the  great  councils 
of  the  church,  which  after  the  age  of  Constantine  formed  the  siipreme 
governing  body  of  the  church ;  performing  the  functions  of  the  earlier 
provincial  sjmods  with  more  extended  authority,  though  with  less  una- 
nimity and  regularity,  than  had  characterised  the  earlier  institution. 

It  was  thus  that  during  the  first  three  centuries  of  its  existence  the 
Christian  communit}'  was  fonued  into  a  vast  Federal  republic,  governed 
by  its  own  laws,  administered  by  its  own  officers,  acknowledging  no 
community  A\dth  the  heathen,  and  no  authority  in  the  constituted 
secular  powers  of  the  state.  But  at  the  same  time  they  admitted  a 
participation  of  rights  to  the  body  of  the  faithful,  from  whom  the  hie- 
rarchy were  chosen,  and  whose  delegation  was  still  admitted  to  be 
their  title  to  office. 

AVhen  in  the  time  of  Constantine  this  persecuted  and  scattered 
church  emerged  from  the  catacombs  to  bask  in  the  sunshine  of  impe- 
rial favour,  it  was  impossible  that  any  buildings  could  be  found  more 
suited  for  their  purposes  than  the  basilicas  of  ancient  Eome.  They 
were  designed  and  erected  for  the  convenient  transaction  of  the  affairs 
of  the  heathen  Empire,  and  were  in  consequence  eminently  suited 
for  the  convenience  of  the  Christian  republic,  which  then  aspired  to 
supersede  its  fiillen  rival  and  replace  it  by  a  younger  and  better  in- 
stitution. 

In  the  basilicas  the  whole  congregation  of  the  faithful  could  meet 
and  take  part  in  the  transaction  of  the  business  going  on.  The  bishop 
naturally  took  the  place  previously  occupied  by  the  praitor  or  qutestor, 
the  presb}i:ers  those  of  the  assessors.  The  altar  in  front  of  the  apse, 
where  the  pious  heathen  poured  out  libations  at  the  commencement 
and  conclusion  of  all  important  business,  served  equally  for  the  cele- 
bration of  Christian  rites,  and  with  the  fewest  possible  changes  either 
in  the  foim  of  the  ceremonies,  or  of  the  nature  of  the  business  trans- 
acted therein,  the  basilica  of  the  heathen  became  the  ecclesia  or  place 
of  assembly  of  the  early  Christian  communit}'. 

At  this  early  age  there  seems  to  be  every  reason  to  believe,   that 
the  round  chui-ch  which  usually  stood  by  itself  near  the  west  end  of 


CiiAi-.  II.  BASILICAS.  -iH'i 

the  basilica,  was  the  ceremonial,  or  pniperly  speaking,  liturgical 
church  of  the  community.  It  was  certainly  there  that  the  most  solemn 
and  important  rite,  that  of  baptism,  was  always  administered,  whence 
it  derived  its  name  of  BapfLsferi/.  These  were  also  the  tombs  of  import- 
ant persons ;  and  being  copied  from  the  tombs  of  the  Komans,  it  is 
almost  certain  that  the  service  of  the  dead,  and  the  last  sacrament, 
\vere  here  administered ;  and  as  a  general  rule  all  the  sacraments,  so 
far  as  we  can  trace  them,  belonged  then  to  the  circular  building  as 
contradistinguished  from  the  ecclesia  or  place  of  assembly. 

These  arrangements  Avere  not  long  allowed  to  continue  as  we  have 
described  them  :  for  the  now  dominant  hierarchy  of  Rome  soon  began 
to  repudiate  the  republicanism  of  the  early  days  of  the  church,  and 
to  ado})t  from  the  East  the  convenient  doctrine  of  the  absolute  separa- 
tion of  the  congregation  into  clergy  and  lait}'.  To  acconmiodate  the 
basilica  to  this  new  state  of  things,  first  the  apse  was  railed  off  and 
appropriated  wholly  to  the  use  of  the  clergy ;  then  the  whole  of  the 
dais,  or  raised  part  in  front  of  the  apse  on  which  the  altar  stood,  was 
separated  by  pillars,  called  cancelli,  and  in  like  manner  given  up 
wholly  to  the  clergy,  and  not  allowed  to  be  profaned  by  the  presence 
of  the  unordained  multitude.  ■ 

The  last  great  change  was  the  introduction  of  a  choir,  or  enclosed 
space  in  the  centre  of  the  nave,  attached  to  the  bema  or  pi\'shi/feri/,  as 
the  raised  space  came  to  be  called — round  three  sides  of  which  the 
faithful  were  allowed  to  congregate  to  hear  the  Gospels  or  Epistles 
read  from  the  two  pulpits  or  amboms,  which  were  built  into  its 
enclosure  on  either  side  ;  or  to  hear  the  services  which  were  read  or 
sung  by  the  inferior  order  of  clergy  who  occupied  its  precincts. 

The  enclosure  of  the  choir  was  kept  low,  so  as  not  to  hide  the  view 
of  the  raised  presbytery,  or  to  prevent  the  congregation  from  witness- 
ing the  more  sacred  mysteries  of  the  faith  which  were  there  performed 
by  the  higher  order  of  clergy. 

Another  important  modification,  though  it  introduced  no  architec- 
tural change,  was  the  introduction  of  the  bodies  of  the  saints  in  whose 
honour  the  building  was  erected,  into  the  basilica  itself,  and  placing 
them  in  a  confessional  or  crypt  below  the  high  altar. 

There  is  every  reason  to  believe  that  a  separate  circular  building, 
or  proper  tomb,  was  originally  erected  over  the  grave  or  place  of  mar- 
tyrdom, and  the  basilica  was  sanctified  merely  by  its  propinquity  to 
the  sacred  spot.  Afterwards  the  practice  of  depositing  the  relics  of  the 
saint  beneath  the  floor  became  universally  the  rule.  At  about  the  same 
time  the  baptistery  was  also  absorbed  into  the  basilica ;  and  instead  of 
standing  opposite  the  western  entrance,  a  font'  placed  within  the 
western  doors  supplied  its  place.  This  last  change  was  made  earlier 
at  Rome  than  elsewhere.  It  is  not  known  at  what  exact  period  the 
alteration  was  introduced,  but  it  is  probable  that  the  whole  was  com- 
pleted before  the  age  of  Gregory  the  Great. 

It  was  thus  that  in  the  course  of  a  few  centuries  the  basilicas  aggre- 
gated within  themselves  all  the  offices  of  the  Roman  church,  and  became 
the  only  ecclesiastical  buildings  they  acknowledged— either  as  places 

2  I  2 


484 


ROM  AN  RS(i  U 1^:  A  RC 1 1  rrECT  LIRE. 


P>OOK   I. 


foi"  tlio  assembly  of  the  clergy  for  the  administration  of  the  Sacraments 
and  the  performance  of  divine  worship,  or  for  the  congregation  of  the 
faithful. 

San  Clemente. 

Among  the  numerous  basilicas  of  Eome  no  one  retains  at  the  pre- 
sent day  the  arrangements  above  described  in  the  same  state  of  com- 
pleteness as  that  of  San  Clemente,  erected  in  the  4th  and  5th  centuiies 
on  the  site  of  the  house  of  that  saint.  Though  re- 
built in  the  9th  century,  and  subsequently  repaired,  it 
still  retains  in  nearly  a  comjilete  state  all  the  ordi- 
nances of  an  original  church  of  this  class. 

It  is  one  of  the  few  that  still  possess  an  Atn'imi 
or  court-yard  in  front  of  the  principal  enti'ance, 
though  there  can  be  little  doubt  but  that  this  Avas 
considered  at  that  early  age  a  most  important,  if  not 
indeed  an  indispensable,  attribute  to  the  church  itself. 
As  a  feature  it  may  have  been  derived  from  the  East, 
where  we  know  it  was  most  common,  and  where  it 
afterwards  became,  with  only  the  slightest  possible 
modifications,  the  mosque  of  the  Moslems.  It  would 
seem  even  more  probable,  however,  that  it  is  only  a 
repetition  of  the  forum,  which  always  was  attached 
to  the  Pagan  l)asilica,  and  from  which  it  was  always 
entered ;  and  for  a  sepulchral  church  at  least  nothing 
could  be  more  appropriate,  as  the  original  application 
365.  Plan  of  the  Church  of  the  word  forum  seems  to  have  been  to  the  open  area 

of  San  Clemente   at      .  •         -t    •       n  n  n  i  • 

Rome.     From  Gu-  that  existed  in  front  of  tombs  as  well  as  other  import- 

tensohn  and  Knapp.i  ,   -i      -it  -> 

=  1  ,nAf.  .  ■•  I       ;>nt  buildings.'' 

Scale  100  ft.  to  1  inch.  o 

In  the  centre  of  this  atrium  there  generally  stood  a 
fountain  or  tank  of  water,  not  only  as  an  emblem  of  purity,  but  that 
those  who  came  to  the  church  might  wash  their  hands  before  entering 
the  holy  place — a  custom  which  seems  afterwards  to  have  given  rise  to 
the  practice  of  dip2)ing  the  fingers  in  the  holy  water  of  the  piscina,  now 
universal  in  all  Catholic  countries. 

The  colonnade  next  the  church  was  frequently  the  only  repre- 
sentative of  the  atrium,  and  then — perhaps  indeed  always — was  called 
the  narthex,  or  place  for  penitents  or  persons  who  had  not  yet  acquired 
the  right  of  entering  the  church  itself. 

From  this  narthex  3  doorways  open  into  the  church,  corresponding 
with  the  3  aisles ;  and  had  there  been  a  font,  it  ought  to  have  been 
placed  in  a  chapel  on  either  the  right  or  left  hand  of  the  principal 
entrance. 

The  choir  with  its  2  pulpits  is  shown  in  the  plan — that  on  the  left- 
hand  side  being  the  pulpit  of  the  epistle,  that  on  the  right  of  the 
gospel.     The  railing  of  the  hema  or  presbytery  is  also  marked,  so  is 


'    Gntcn.sdhu    imd  Knapp,    Die    Ba.siliken 
des  Christliclieii  Koms. 


'^  Cicero  rle  Legg.,  ii.  24  ;    Festus.  .s.  v. ; 
Smith's  I")ictionary  of  Classical  Antiquities. 


CnAP.  IT.  BASILICAS.  485 

tho  position  of  the  altar  with  its  canopy  sup])orted  on  4  pillars,  and 
behind  that  the  throne  of  the  bishop,  with  the  seats  of  the  inferior 
clergy  surroiniding  the  apse  on  either  side. 

Besides  this  church  there  are  at  least  30  other  basilican  churches 
in  fiome,  extending  in  date  from  the  4th  to  the  14th  century.  Their 
names  and  dates,  as  far  as  they  have  been  ascertained,  are  set  forth  in 
the  accompanying  list,  which,  though  not  altogether  complete,  is  still 
the  best  we  possess,  and  sufficient  for  our  present  purposes.' 

BASILICAS    OF    ROME. 


FOURTH  CENTURY. 

St.  Peter's Constantine  (5  aisled)     .      .  about  33i> 

St.  Paul's Theodosius  and  Honorius  (5  aisled)  386 

FIFTH  CENTURY. 

Sta.  Sabina Pope  Celestine      ....     about  425 

Sta.  Maria  Maggiore     .      .      .     Pope  Sixtus  III 432 

St.  Pietro  ad  Vincula  .      .      .     Eudoxia  (Greek  Doric  pillars)  .      .     442 

SIXTH  CENTURY. 

San  Lorenzo  (old  part)     .      .      .     Pope  Pelagius  (galleries)       ...     580 
Sta.  Balbina Gregoi-y  the  Great  (no  side  aisles)  .     600 

SEVENTH  CENTURY. 

Sta.  Agnese Honorius  I.  (galleries)     ....  625 

Quattro  Coronati    ....     Honorius  1 625 

St.  Giorgio  in  Velabro       .      .     Leo  II 682 

San  Chrisogono Gregory  III 730 

EIGHTH  CENTURY. 

S.  Giovanni  a  porta  Latina     .     Hadrian  1 790  ? 

S.  Maria  in  Cosmedin 790 

S.  Vincenzo  alle  Tre  Fontane 790 

S.  Lorenzo  (nave) about  790  ? 

NINTH  CENTURY. 

SS.  Nereo  ED  Achilleo.      .      .     Leo  III about  800 

S.  Praxede Paschal  1 820 

S.  Maria  in  Dominica 820 

S.  Martino  ai  Monti     .      .      .     Sergius  and  Leo 844,  855 

S.  Clemente John  VIII 872 

S.  NicoLO  IN  Carcere about  900 

S.  Bartolomeo  in  Isola 900 

TENTH  CENTURY. 
S.  Giovanni  in  Laterano  .      ,     Sergius  III 910 

ELEVENTH  CENTURY. 
Nothing. 


1  It  is  copied  from  the  work  of  the  Che-  Knapp,  forms  by  far  tlie  best  work  on  the 
valierBmiseii  on  the  Roman  Basilicas,  which,  subject  that  has  yet  been  given  to  the 
with     the    iHustrations    of    Gutensohn    and      world. 


ISi;  UOMANESQUK  AIK'Ifl'rF.CrinJK.  r.o(,K  1. 

TWELFTH  CKNTUIi'Y. 

S.  M\i;iA  IN  TiiAsrKVinii':    .      .     Innocent  II IL!.") 

S.  Crock Lucius 1144 

S.  Mauia  in  Aua  Ckli uncortnin 

THIRTEENTH  CENTURY. 
Nothing. 

FOURTEENTH  CENTURY. 
S.  Maria  soi'UA  Minerva  .      .     Gothic about  1370 

FIFTEENTH  CENTURY. 
S.  AciOSTiNO Renaissance  ? about  1480 

Of  tliose,  three,  St.  Peter's,  St.  Paul's,  and  the  Lateran  church,  have 
.")  aisles,  all  the  rest  3,  with  only  one  insignificant  exception,  Sta. 
Balbina,  which  has  no  side-aisles.  Two,  8ta.  Agnese  and  the  old  part 
of  St.  Lorenzo,  have  their  side-aisles  in  two  stories,  all  the  rest  are 
only  one  story  in  height,  and  the  side-aisles  generally  are  half  the 
width  of  the  central  aisle  or  nave.  Some  of  the  more  modern  churches 
have  the  side-aisles  vaulted,  hut  of  those  on  the  list  all  esce})t  the  tAvo 
last  have  fiat  wooden  ceilings  over  the  central  compartment,  and 
generally  speaking  the  plain  unornamental  construction  of  the  roof  is 
exposed.  It  can  scarcely  be  doubted  that  originally  they  were  ceiled 
in  some  more  ornamental  manner,  as  the  art  of  ornamenting  this  new 
style  of  open  construction  seems  to  have  been  introduced  at  a  later 
date. 

Of  the  two  last  named,  the  Sta.  Maria  sopra  Minerva  might  perhaps 
be  more  properly  classed  among  the  buildings  belonging  to  the  Italian 
Gothic  style  ;  but  as  it  is  the  only  one  in  Rome  that  has  any  claim  to 
such  a  distinction,  it  is  hardly  worth  while  making  it  an  exception  to 
the  rest.  The  San  Agostino  might  also  be  called  a  Eenaissance  spe- 
cimen. It  certainly  is  a  transitional  specimen  between  the  pillared 
and  pilastered  styles,  Avhich  Avere  then  struggling  for  masteiy.  It  may 
either  be  regarded  as  the  last  of  the  old  race  or  the  first  of  the  new 
style,  which  was  so  soon  destined  to  revolutionise  the  architectural 
world. 

Of  the  remaining  examples  the  oldest  was  the  finest.  This  great 
basilica  was  erected  in  the  reign  of  Constantine,  close  to  the  circus 
of  Nero,  Avhere  tradition  affirmed  that  St.  Peter  had  suffered  martyi-dom. 
It  unfortunately  was  entirely  swept  away  to  make  room  for  tlie  greatest 
of  Christian  temples,  which  now  occupies  its  site  ;  but  previous  to  its 
destruction  careful  measurements  and  drawings  were  made  of  e\'ery 
part,  from  Avhich  it  is  easy  to  understand  all  its  arrangements — easier 
perhaps  than  if  it  had  remained  to  the  present  day,  and  four  centuries 
more  of  reform  and  improvements  assisted  in  altering  and  disfiguring 
its  venerable  frame. 

As  will  be  seen  from  the  plan  (woodcut  No.  366),  drawn  to  the 
usual  scale,  it  possessed  a  noble  atrium  or  forecourt,  212  ft.  by  235,  in 
front  of  which  were  some  bold  masses  of  building  which  during  the 


Chap.  II. 


ST.   PETER'S. 


487 


366.  I'laii  of  tlic  original  Hasilica  of  St.  Peter  at  Rome.     From  Guleiisolm  and  Knapp. 

Scale  inn  ft.  to  i  in. 


488  HOMANESQUE  ARCIIITECTUHE.  Book  I. 

middle  ai^'os  were  .siinuounted  by  2  belfry-towers.  Tbe  church  it^;ell 
was  212  ft.  ill  widtli  by  395  in  length,  covering  an  area  of  114,000 
Kiiglish  feet,  which,  though  only  half  the  size  of  the  present  cathedral, 
still  is  a  greater  space  than  is  covered  by  any  niediajval  cathedral 
except  those  of  Milan  and  Seville,  Avith  which  it  ranks  in  size.  The 
central  aisle  was  about  80  ft.  across  (about  twice  the  average  width  of 
a  Gothic  nave),  and  nearly  the  same  as  that  of  the  basilica  of  Maxentius 
and  the  great  halls  of  the  greater  Therma3.  For  some  reason  or  other 
this  dimension  seems  to  have  been  a  modulus  very  generally  adopted. 
The  l)enia  or  sanctuary,  answering  to  the  Gothic  transept,  extended 
beyond  the  walls  of  the  church  either  way,  which  was  unusual  in 
Romanesque  buildings.  The  object  here  seems  to  have  been* to  connect 
it  with  the  tombs  on  its  north  side.  The  arrangement  of  the  sanctuary" 
was  also  j^eculiar,  having  been  adorned  with  12  pillars  supporting  a 
gallerj'.  These,  when  symbolism  became  the  fashion,  were  said  to 
represent  the  12  apostles.  This  certainly  was  not  their  original 
intent,  as  at  first  only  6  were  put  up — the  others  added  afterwards. 
The  sanctuary  and  choir  were  here  singularly  small  and  contracted, 
as  if  arranged  before  the  clergy  became  so  numerous  as  they  after- 
wards were,  and  before  the  laity  were  excluded  from  this  part  of  the 
church. 

The  two  most  interesting  adjuncts  to  this  cathedral  are  the  two 
tombs  standing  to  the  northward.  According  to  the  mediaeval  tra- 
dition the  one  was  the  tomb  of  Honorius  and  his  wives,  the  other  the 
church  of  St.  Andrew.  Their  position,  however,  carefully  centred  on 
the  spina  of  the  circus  of  Nero,  where  the  great  apostle  suffered  mar- 
tyrdom, seems  to  point  to  a  holier  and  more  important  origin.  My  own 
conviction  is  that  they  were  erected  to  mark  the  places  where  the 
apostle  and  his  companions  suffered.  It  is  besides  extremely  impro- 
bable that  after  the  erection  of  the  basilica  an  emperor  should  choose 
the  centre  of  a  circus  for  the  bury ing-pl ace  of  himself  and  his  famih% 
or  should  be  permitted  to  choose  so  hallowed  a  spot.  They  are  of 
exactly  the  usual  tomb-form  of  the  age  of  Constantine,  and  of  the 
largest  size,  being  each  100  ft.  in  diameter. 

The  general  internal  appearance  of  the  building  will  be  understood 
from  the  following  woodcut  (No.  367),  which  presents  at  one  view  all 
the  peculiarities  of  the  basilican  buildings.  The  pillars  separating  the 
central  from  the  side  aisles  appear  to  have  been  of  uniform  dimensions, 
and  supported  a  horizontal  entablature,  above  which  rose  a  double 
range  of  panels,  each  containing  a  picture — these  panels  thus  taking 
the  place  of  what  Avas  the  triforium  in  Gothic  churches.  Over  these 
was  the  clerestory,  and  again  an  ornamental  belt  gave  sufficient  ele- 
vation for  the  roof,  Avhich  in  this  instance  showed  the  naked  con- 
struction. On  the  whole  perhaps  the  ratio  of  height  to  w4dth  is  unex- 
ceptionable, but  the  height  over  the  pillars  is  so  great  that  they  are 
made  to  look  utterly  insignificant,  which  indeed  is  the  great  defect  in 
the  architectural  design  of  these  Iniildings,  and,  though  seldom  so 
offensive  as  here,  is  apparent  in  all.  The  ranges  of  columns  dividing 
the  side  aisles  Avere  joined  by  arches,  which  is  a  more  common  as  Avell 


Chap 


ST.   PETEE'S. 


489 


as  ti  better  arrangement,  as  it  not  only  adds  to  the  height  of  the  piHars, 
but  gives  them  an  apparent  power  of  bearing  the  superstructure.  At 
some  period  during  the  middle  ages  the  outer  aisles  were  vaulted,  and 
Gothic  windoAvs  introduced  into  them — a  chancre  which  seems  to  have 
necessitated  the  closing  of  the  intermediate  range  of  clerestory  win- 
dows, which  probably  was  by  no  means  condixcive  to  the  general  archi- 
tectural effect  of  the  building. 


a 


Externally  this  basilica,  like  all  those  of  its  age,  must  have  been 
singularly  deficient  in  beauty  or  in  architectural  design.  The  sides 
were  of  plain  unplastered  brick,  the  windows  were  plain  arch-headed 
openings.  The  front  alone  was  ornamented,  and  this  only  with  two 
ranges  of  windows  somewhat  larger  than  those  at  the  sides,  3  in  each 
tier,  into  which  tracery  was  inserted  at  some  later  period,  and  between 


400 


R(  )M A N ESQUE  ARCHITECTURE. 


Rook  I. 


and  alK)ve  those,  various  tisj^uros  ;md  emblems  were  jiainted  in  fresco 
on  stucco  laid  on  the  brickwork.  The  whole  was  sunnoimtcd  by  that 
singular  coved  cornice  which  seems  to  haA'e  been  universal  in  Koman 
basilicas,  though  not  found  anywhere  else  that  I  am  aware  of. 


St.  Paul's, 

The  church  of  St.  Paolo  fuori  delle  Mura  Avas  almost  an  exact 
counterpart  of  St.  Peter's  both  in  design  and  dimensions.  The  only 
impoiiant  variations  were  that  the  transept  was  made  of  the  same 
width  as  the  central  nave,  or  about  80  ft.,  and  that  the  pillars  sepa- 
rating the  nave  from  the  side  aisles  were  joined  by  arches  instead  of  by 
a  horizontal  architrave.  Both  these  were  undoubted  improvements,  the 
first  giving  space  and  dignity  to  the  bema,  the  latter  not  only  adding 
height  to  the  order,  but  giving  it,  together  with  lightness,  tbat  apparent 
strength  required  to  support  the  high  wall  that  was  placed  npon  it. 

The  order  too  was  finer  and  more  important  than  at  St.  Peter's, 
24  of  the  pillars  being  taken  from  some  temple  or  building  (it  is  gene- 
rally said  the  mausoleum  of  Hadrian)  of  the  best  age  of  Eome,  though 
the  remaining  16  are  unfortunately  only  Yery  bad  copies  of  their  foi-ms. 
These  pillars  are  33  ft.  in  height,  or  one-third  of  the  whole  height  of 
the  building  to  the  roof.  In  St.  Peter's  they  were  only  a  fourth,  and 
if  they  had  been  spaced  a  little  farther  apart,  and  the  arch  made  more 

imj^ortant.  the  most  glaiing  defect  of  these 
buildings  would  in  a  gi-eat  measui-e  have  been 
avoided. 

Long  before  its  destruction  by  fire  in  1822 
this  church  had  been  so  altered  as  to  lose  many 
of  its  most  striking  peculiarities.  The  bema  or 
presbytery  was  divided  into  two  by  a  longitu- 
dinal wall.  The  greater  number  of  its  clerestory 
windows  were  built  up,  its  atrium  gone,  and 
decay  and  Avhitewash  had  done  much  to  eiface  its 
beauty,  which  nevertheless  seems  to  have  stnick 
all  travellers  with  admiration,  as  combinins;  in 
itself  the  last  reminiscence  of  Pagan  Eome  with 
the  earliest  forms  of  the  Christian  world.  It  cer- 
tainly was  the  most  interesting,  if  not  quite  the 
most  beautiful,  of  the  Chi-istian  buildings  of  that 
city. 

The  third  5-aisled  basilica,  that  of  San  Gio- 
vanni Laterano,  difi"ers  in  no  essential  respect 
from  those  just  described  except  in  dimensions, 
covering  only  about  60,000  ft.,  and  consequently 
scarceh-  more  than  half  the  space  occupied  by 
It  has  been  so  completely  altered 
in  modern  times  that  its  prunitive  arrangements 
can  now  hardly  be  discerned,  and  certainly  its  effects,  if  any  were 
peculiar  to  it,  cannot  now  well  be  judged  of. 


s 

m 

m 

m 

m 

IS 

m 

9 

m 

m 

m 

m 

m 

m 

s 

m 

m 

m 

m 

m 

m 

m 

368.    Plan  of  Sta.  Maria  Ma?;-    the    Others, 
giore.  Scale  100  ft.  to  1  in 


CiiAr.  II. 


STA.  MA  III  A  MAGGIORE. 


491 


Of  those  with  A  aislrs  by  far  tlui  finest  and  most  beautiful  is  that 
of  Sta.  Maria  Maggiore,  which,  notwithstanding  the  comparative  small- 
ness  (if  its  tlimensions,  is  now  perliaps  tlie  best  specimen  of  its  class 
remaining.  Internally  its  dimensions  are  100  ft.  in  width  by  250  to 
the  front  of  the  apse ;  the  wliole  area  about  32,000  ft.  :  so  that  it  is 
little  more  than  half  the  size  of  the  Lateran  church,  and  between  one- 
third  and  one-fourth  of  the  two  older  churches. 


.if)!). 


View  of  Sta.  Maria  MagRiore.     From  Gutcnsuhn  .and  Knapp. 


Notwithstanding  this  there  is  great  beauty  in  its  internal  colonnade, 
all  the  pillars  of  which  are  of  one  design,  and  bear  a  most  pleasing 
proportion  to  the  superstructure.  The  clerestory  too  is  ornamented 
with  pilasters  and  panels,  so  as  to  make  it  a  part  of  the  general  design  ; 
and  with  the  roof,  which  is  panelled  with  constructive  propriety  and 
simplicity  combined  with  sufficient  richness,  serves  to  make  up  a  whole, 
giving  a  far  better  and  more  complete  idea  of  what  a  ]:iasilica  either 
was  originally,  or  at  least  might  have  been,  than  any  other  church  at 
Rome.  It  is  true  that  both  the  pilasters  of  the  clerestory  and  the  roof 
are  modern,  and  in  modern  times  the    colonnade    has  been  broken 


492 


IJOMANERQUE  AlirillTKilTUKE. 


Book  T. 


370.  beclion  of  Sta.  Agnese.    1 1  om  butensohn  and  Knapp. 
Scale  50  ft.  to  1  in. 


thronp;h  in  two  places ;  but  these  defects  must  be  overlooked  in  at- 
tem])tini;-  to  judo-o  of  the  avIioIo. 

Another  defect  is  tliat  the  side  aisles  have  been  vaulted  in  modern 
times,  and  in  such  a  manner  as  to  destroy  the  haimony  that  slioidd 
exist  between  the  different  parts  of  the  building.  In  striving  to  avoid 
the  defect  of  making  the  superstructure  too  high  in  proportion  to  the 
columns,  the  architect  has  made  the  central  roof  too  low  either  for  the 
width  or  length  of  the  main  aisle.  Still  the  building,  as  a  whole,  is 
perha])s  the  very  best  of  all  the  wooden  roofed  churches  of  Christen- 
dom, and  the  best  model  from  which  to  study  the  merits  and  defects 
of  this  style  of  architecture. 

Another  mode  of  getting  over  the  great  defect  of  high  walls  over 

the  pillars  was  adopted  in 
Sta.  Agnese  and  St.  Lorenzo,  of 
iising  a  gallery  corresponding 
with  the  triforium  of  Gothic 
churches.  In  both  these  in- 
stances it  seems  to  have  been 
suggested,  if  not  required,  by 
the  peculiarity  of  the  ground 
being  higher  on  one  side  than 
on  the  other ;  but  whether  it 
was  so  or  not,  the  result  was 
most  happy,  and  had  it  been 
persevered  in,  so  as  to  bring 
the  upper  colonnade  more  into 
harmony  of  proportion  with 
.the  other,  it  would  have  had 
the  happiest  results  on  the 
style.  Whether  it  was,  how- 
ever, that  the  Romans  felt  the 
Avant  of  the  broad  plain  space 
for  their  paintings,  or  that  they  could  not  bring  the  upper  arches  into 
proportion  with  the  classical  pillars  which  they  made  use  of,  the  system 
was  abandoned  as  soon  as  adopted,  and  never  came  into  general  use. 

In  San  Lorenzo  the  effect  is  spoiled,  from  that  church  having  been 
so  much  altered  when  the  nave  was  added  that  it  is  not  easy  to  judge 
of  the  original  design ;  and  the  whole  being  made  up  of  incongruous 
fragments  of  classical  buildings,  it  has  a  piecemeal  appearance  very 
prejudicial  to  architectural  effect. 

In  §ome  instances,  as  in  San  ( Jlemente,  above  alluded  to,  in  San  Pietro 
in  Vincula,  and  Sta.  Maria  in  Cosmedin,  the  colonnade  is  divided  into 
spaces  of  three  or  four  intei'columniations  hj  blocks  of  solid  masoniy, 
which  give  great  apparent  solidity  and  strength  to  the  building,  but 
at  the  expense  of  dividing  it  into  three  compartments,  more  than  is 
agreeable,  and  destroying  that  beauty  of  perspective  which  is  so 
pleasing  in  a  continuous  colonnade.  This  defect  seems  to  have  been 
felt  in  the  Santa  Praxede,  where  these  blocks  are  placed  angularly, 
and  support  each  a   bold  arch  thrown  across  the  central  aisle.     The 


i^  a  B  S  B 

as 
m 

^ 

@ 

Cu  ■ 

ib: 

B-^fr  SI  B  s  fa 

a 

El 

a  i#i 

371. 


ri.in  of  Sill.  Anne.se.    Scale  100  ft.  to  1  in. 


Chap.  IT. 


SAN  VINCENZO  ALLE  TKE  FUNTANE. 


493 


eifeci  of  this  might  have  been  most  happy,  and  is  so  at  San  Miniato, 
near  Florence ;  but  is  so  clumsily  managed  here,  as  to  be  most 
destructive  of  all  beauty  of  proportion. 

Some  of  the  principal  beauties  as  well  as  some  of  the  most  I'emark- 
able  defects  of  these  basilican  churches  arise  from  the  employment  of 
columns  torn  from  ancient  temples :  where  this  has  been  done,  the 
beauty  of  the  marble,  and  the  exquisite  sculpture  of  the  capitals  and 
friezes,  give  a  richness  and  elegance  to  the  whole  that  goes  far  to 
redeem  or  to  hide  the  rudeness  of  the  building  in  which  they  are 
encased.  But  on  the  other  hand,  the  discrepancy  between  the  pillars, 
Doric,  Ionic,  and  Corinthian  columns  being  sometimes  used  side  by 
side,  destroys  all  uniformity,  and  tlie  fragmentary  character  of  the 
entablatures  they  support  is  still  more  prejudicial  to  the  continuit}'  of 
the  perspective,  which  is  the  greatest  charm  of  these  churches.  By 
degrees,  the  fertile  quarries  of  aucient  Eome  seem  to  have  become 
entirely  exhausted ;  and  as  the  example  of  St.  Paul's  proves,  the  Eo- 
mans  in  the  -ith  century  were  incapable  of  manufacturing  even  a  bad 
imitation — they  were  at  last  forced  to  adopt  some  new  plan  of  support- 
ing their  arcades.  The  church  of  SS.  Nereo  ed  Achilleo  is,  perhaps, 
the  most  elegant  example  of  this  class,  the  piers  being  light  octagons ; 
but  the  most  characteristic,  as  well  as  the  most  original,  is  the  San 
Yincenzo  alle  Tre  Fontane,  shown  in  section  and  elevation  in  the  wood- 
cut, No.  872.     It  so  far  deviates  from  the  usual  basilican  arrange- 


372.  Half  Section,  half  Elevation,  of  the  Church  of  San  Vincenzo  alle  Tre  Fontane. 

From  Gutensuhn  and  Knapp.      Scale  50  ft.  to  1  in. 


ments  as  almost  to  deserve  the  appellation  of  Gothic.  It  has  the 
same  defect  as  all  the  rest — its  pier  arches  being  too  low,  for  which 
there  is  no  excuse  here ;  but  both  internally  and  externally  it  shows 
a  uniformity  of  design  and  a  desire  to  make  every  part  ornamental 
that  produces  a  very  pleasing  eifect,  although  the  whole  is  merely 
of  brick,  and  ornament  is  so  sparingly  applied  as  only  just  to  prevent 
the  building  sinking  to  the  class  of  mere  utilitarian  erections. 

One  of  the  most  pleasing  architectural  features,  if  I  may  so  call  it, 
of  these  churches,  are  the  mosaic  pavements  that  adorn  the  greater 
number.  These  were  always  original,  being  designed  for  the  build- 
ings in  which  they  are  used,  and  following  the  arrangement  of  the 
architecture  that  stands  on  them.  The  patterns  too  are  always  elegant, 
and  apprttpriate  to  the  purpose;   and  as  the  colours  are  in  like  manner 


494  ROMANESQUE  AIlCHlTECTUliE.  Book]. 

generally  liannoiiioiisly  Mended,   they  form  not  only  a  most  appro- 
priate but  most  beautiful  basement  to  the  avchitecture. 

A  still  more  important  feature  was  the  great  mosaic  pictures  that 
always  adorned  the  semi-dome  of  the  apse,  representing  most  generally 
the  Saviour  seated  in  glory  surrounded  by  saints,  or  some  scene  from 
the  life  of  the  holy  personage  to  whom  the  church  was  dedicated. 
These  mosaics  were  generall}^  continued  lower  down  to  nearly  the 
level  of  the  altar,  and  along  the  whole  of  the  inner  wall  of  the  sanc- 
tuary in  which  the  apse  was  situated — as  far  as  the  triumphal  arch 
which  separated  the  nave  from  the  sanctuary.  At  this  point  the  mosaic 
blended  with  the  frescos  that  adorned  the  upper  walls  of  the  central 
nave  above  the  arcades.  All  this  made  up  an  extent  of  polychromatic 
decoration,  which  in  those  dark  ages,  when  few  could  read,  the  de- 
signers of  these  buildings  seem  to  have  considered  as  virtually  of  more 
importance  than  the  architectnral  work  to  which  it  was  attached. 
Any  attempt  to  judge  of  the  one  without  taking  into  consideration  the 
other,  is  pronouncing  on  hearing  only  half  the  evidence  ;  but  taken  in 
conjunction,  the  paintings  go  far  to  explain,  and  also  to  redeem,  many 
points  in  which  the  architecture  is  most  open  to  criticism. 

E  A  VENN  A. 

During  the  whole  period  when  the  Romanesque  style  was  most 
floiu'ishing,  the  city  of  Eavenna  almost  rivalled  in  importance  the  old 
capital  of  the  world,  and  her  churches  were  consequently  hardly  less 
important  either  in  nmnber  or  in  richness  than  those  we  have  just 
been  describing.  It  is  true  she  had  none  so  large  as  the  creat  meti'o- 
politan  basilicas  of  St.  Peter  and  St.  raul.  The  one  five-aisled  church 
she  possessed — the  cathedral — has  been  entirely  destroyed,  to  make  way 
for  a  very  contemptible  modem  erection.  From  the  plans,  however, 
which  we  possess  of  it,  it  seems  to  have  diftered  very  considerabl}^  from 
the  Eoman  examples,  most  especially  in  having  no  trace  of  a  transept, 
the  building  being  a  perfectly  regular  parallelogram,  half  as  long  again 
as  its  breadth,  and  with  merely  one  great  apse  added  at  the  end  of  the 
central  nave.  Its  loss  is  the  more  to  be  regretted,  as  it  was,  besides 
being  the  largest,  the  oldest  church  in  the  city,  having  been  erected 
about  the  year  400,  by  Archbishop  Ursus.  The  ba})tistery  that  belonged 
to  it  has  been  fortunately  presei-ved,  and  mil  be  described  hereafter. 

Besides  a  considerable  number  of  other  churches,  which  have  either 
been  lost  or  destroyed  by  repair,  Eavenna  still  possesses  two  first  class 
3-aisled  basilicas, — the  San  ApoUinare  Nuovo,  originally  an  Aiiau 
church,  built  by  Theodoric,  king  of  the  Goths  (a.d.  493-525) ;  and  the 
S.  ApoUinare  ad  Classem,  at  the  Port  of  Eavenna,  situated  abont 
3  miles  from  the  city,  commenced  a.d.  538,  and  dedicated  549.  They 
are  both  similar  in  plan,  in  as  far  at  least  as  their  naves  are  concerned, 
and  apparently  so  in  dimensions.' 


'  None  of  the  plans  to  which  I  have  access  as  well  mention  here  that  wlien  I  assort 
have  scales  :  I  tlierelbre  do  not  know  what  that  plans  have  no  scales,  1  am  not  ia;no- 
the  dimensions  of  these  churches  are.      t  may      rant  tiuit,  as  in  this  instance,   such  authors 


Chap.  11. 


RAVENNA. 


495 


S.  Apollinare  Nuovo  is  now  called  S.  Martino  in  Cielo  d'Oro,  from 

its  lia\'ing  been  decided  in  the  1  2tli  centuiy  that  the  other  church,  ad 

( 'lassem,  possessed  the  true  body  of  the  saint  to 

whom  both  chiirches  were  dedicated.    As  will 

be  seen  from  the  plan,  woodcut  No.   373,  it 

was  a  regular  basilica,  with  12  pillars  on  each 

side.     It  has  no  transepts,  but  in  their  place  a 

rectilinear  compartment  inserted  in   front  of 

the    apse,    which    serves    the    same    purpose. 
This    portion    seems   more    like   the  modem* 

chancel  than  anything  else  we  know  of  at  so 

early  a  date.    This  feature  is  not  found  in  the 
sister  church.     The  great  merit  of  these  two  y 
basilicas  as   compared  with   those  of  Rome,  I 

arises  from  the  circumstance  of  Eavenna  hav- 
ing possessed  no  ruined  temples  whose  spoils 
could  be  used  in  the  construction  of  new 
buildings.  Consequently  the  architects  being- 
obliged  to  think  for  themselves  and  design 
every  detail,  introduced  a  degree  of  harmony 
into  their  proportions  utterly  Tinknown  in 
the  Eoman  examples.  From  the  woodcut 
No.  37-i,  representing  three  arches  of  the 
nave  of  S.  Apollinare  Nuovo,  it  will  be  seen 
that  the  pillars  are  pleasingly  spaced ;  their  3-3.  church  of  s.  Apollinare  in 
capitals,  surmounted  by  a  block  representing      ^      ciasse,  Ravenna. 

i  „  ,  r>     1  From  Agincourt.    No  scale. 

the  architrave,  suttice  for  the  support  01  the 
arches  that  spring  from  them ;  the  triforium  ^s^^in^M^a 
belt  is  adorned  with  figures,  and  is  of  pleasing  "^  ^^ 
proportion;  and  the  window  over  each  arch 
fills  up  the  remaining  height  to  the  roof, 
without  either  overcrowding  or  leaving  any 
space  that*  is  not  easily  filled  up  by  the  deco- 
rations applied.  It  is  true  the  parts  do  not 
all  quite  harmonize,  but  it  is  an  immense 
stride  in  advance  of  the  Eoman  style.  All 
this  is  still  more  apparent  in  the  next  wood- 
cut, taken  from  the  angle  where  the  nave 
joins  the  apse  in  the  Apollinare  ad  Classem, 
which  shows  a  still  further  advance  towards 
fcjnning  a  new  style  out  of  the  classical  ele- 
ments :  a  little  more  and  the  transition  would  ^^^i^rfNuova^From'^ylwstF"'" 
be  almost  complete.  It  is  still  easy,  however, 
not  only  to  trace  the  derivation  of  every  detail  from  the  classical 


IBM 
IBB 

mm 
mm 

im 

IBBEEI 


%L%I„4^> 


as  Caniua,  Wiebeking,  &c.,  have  copied  and  these  scales  are  mere  figments  of  the  author's 

enlarged  Agiucourt's  plans,  and    put  scales  brain. 

to   them,   with   the    utmost   appearance    of  '  A.  F.  vonQuast,  I)ie  Altchristlichen  Uau- 

p.xactness;    but    in    nine    cases    out    of    ton  werkc  von  Kavenna. 


4iM) 


ROMANESQUE  AUCHITKCTUIM-: 


Book 


3^5. 


I'tirt  uf  Apse  ill  S.  ApoUiuare  in  Classe,  Ravenna.     From  Quast. 


376. 


S.  ApoUinare  ad  Olasseni,  Kavenna.     From  Quast. 


Chap.  II. 


PARENZO— TOKCELLO. 


497 


model,   but,  also  to  see  that  the  architect   was   trying   to   adhere    to 
that  style  as  far  as  his  means  and  his  purposes  wonld  alloAv. 

Externally  these  huildings  seem  to  have  still  remained  almost 
AV'holly  without  architectural  embellishment.  It  was  consideied  sufficient 
to  make  the  brick  arches  necessary  for  the  construction  slightly  more 
prominent  and  important  than  was  actually  required.  As  if  imjielled 
by  some  feeling  of  antagonism  to  the  practice  of  the  heathens,  the 
early  Christians  seem  to  have  tried  to  make  the  external  appearance  of 
their  buildings  as  unlike  those  of  their  predecessors  as  it  was  possible. 
Whether  this  was  the  cause  or  not,  it  is  certain  that  nothing  can  well 
be  less  ornamental  than  these  exteriors ;  and  even  the  narthex,  which 
in  this  instance  aftbrded  an  excellent  opportunity  for  embellishment, 
could  not  be  less  ornamental  if  it  were  to  lead  into  a  barn  instead  of  a 
church  of  such  richness  and  beauty  as  this  one  possesses  in  its  internal 


arrangement. 


Parenzo. 


At  Parenzo  in  Istria  there  is  a  basilica,  built  in  the  year  542  by  the 
Bishop  Euphrasius,  and  consequently  contemporary 
with  these  examples  at  Eavenna.  This  church  pos- 
sesses its  atrium,  baptistery,  and  other  accompani- 
ments, which  those  at  Eavenna  have  lost.  It  consists 
of  a  basilica  in  three  aisles,  with  an  apse  at  the  end 
of  each,  and  an  atrium  in  front,  beyond  which  is 
situated  the  baptistery  ;  and  in  front  of  this  again  a 
tower,  with  a  circular  chamber  in  it.  On  one  side  at 
the  east  end  is  a  chapel  or  crypt ;  but  it  is  by  no 
means  clear  to  what  age  it  belongs,  and  for  what 
piirpose  it  was  erected.  It  seems  an  excrescence, 
while  all  the  other  parts  belong  to  the  original 
design.  It  is  a  little  out  of  the  beaten  track,  and 
the  onl}^  illustration  of  it  which  we  possess  is  the 
plan  in  Agiiicourt's  great  work ;  and  there,  as  is  too 
often  the  case,  it  is  without  scale  or  dimensions 
mentioned  in  the  text.  As  a  building  of  the  age  of 
Justinian,  and  showing  the  relative  position  of  the 
various  parts  that  made  xqD  an  ecclesiastical  esta- 
blishment in  these  early  times,  it  is  singularly 
deserving  of  the  attention  of  those  to  whom  the  his- 
tory of  art  is  a  matter  of  interest. 


377 


TORCELLO. 


.    Church  at  Parenzo 

in  Istria. 
From  Agiucourt. 


Scarce  less  interesting  is  the  basilica  of  Torcello  in  the  Venetian 
Lagune,  built  in  the  first  year  of  the  11th  century.'  Like  Parenzo, 
it  is  one  of  those  buildings  that  neither  artists  nor  architects  will  look 


'  An  older  churcli,  belonging  to  the  7th 
century,  existed  on  the  spot  where  this  now 
stands.     It  is  uncertain  how  I'ar  tlie  present 


erection  takes  the  form   or  arrangement  of 
the  older  edifice. 

2    K 


498 


itOMANESQlTE  ARCHITECTURE. 


POOK  1. 


■^A&v  „ 


—Id 

"By 


!it.     \o  cliurcli,  liowevcr,  of  its  age,  probably  possesses  in  snch  peifec- 
tiini  flic  basilican  (iiTiiiigcinciit  as  this,  at  least  at  so  late  an  age.     As 

will  be  seen  from  the  woodcut  No.  378  (from 
Agincoiirt's  work),  it  is  a  simple  basilica, 
witli  II  pillai-s  on  each  side  of  the  nave,  and 
;>  apses;  the  two  small c)-  on  each  side  of  the 
larger  one  being  the  only  thing  that  can  be 
called  an  innovation  on  the  old  arrangement. 
Its  most  striking  peculiarity,  however,  is  the 
position  of  the  baptistery,  Avhich,  instead  of 
being  separated  from  the  church  by  an  atrium, 
as  was  usually  the  case,  is  only  divided  from 
it  by  a  narrow  })assage.  It  is  evident  that  it 
only  required  one  slight  step  further  to  con- 
vert this  into  a  double  aps6  cathedral  such  as 
arc  found  so  commonly  in  Germany. 

I'he  most  interesting  part  of  this  church  is 
the  interior  of  its  apse,  which  still  retains  the 
bishop's  throne,  surrounded  by  6  ranges  of 
seats  for  his  presbytery,  arranged  like  those 
of  an  ancient  theatre.  It  presents  one  of  the 
most  extensive  and  best  preserved  examples 
of  the  fittings  of  the  apse,  and  gives  a  better 
idea  of  the  mode    in  whicli   the   apses  of  churches   were  originally 


L     , 


SYS.    Plan  of  Church  at  Torcello, 
From  Asiiicourt.    No  scale. 


379. 


Apse  of  Basilica  at  Torcello. 


Chap.  IT.  TOECELLO.  400 

arranged,  tlmii  niivlliiit;:;-  tliaf  is  tu  be  loniul  in  any  other  clmreli,  either 
of  its  age  or  of  an  earlier  period. 

The  arehiteetural  history  of  Italy  is  nearly  a  blank  during  the 
four  centuries  that  elapsed  between  the  building  of  the  basilicas  of  Pa- 
renzo  and  Torcello.  This  is  only  too  easily  to  be  accounted  for  from 
the  irniption  of  the  barbarians,  and  the  troubled  state  of  all  political 
relations  during  these  tri;ly  dark  ages.  This  may  account  for  the 
style  reapjiearing  at  Torcello  with  so  little  change  from  what  is 
found  at  Kavenna  and  Parenzo,  after  so  long  a  lajise  of  time,  and  side 
by  side  with  the  celebrated  church  of  St.  Maik's,  of  Venice,  which 
alone  of  all  Italian  churches  can  fairly  be  called  a  direct  importation 
from  the  East.  Still  we  should  by  no  means  despair  of  being  aide  to 
fill  up  the  gap  t(i  a  considerable  extent  from  among  the  smaller  and 
more  obscure  churches  of  towns  lining  the  shores  of  the  Adriatic  ;  no 
systematic  survey  has  yet  been  attempted  for  this  purpose,  and  the 
slight  glimpses  of  knowledge  that  we  here  and  there  possess,  serve 
only  to  indicate  the  permanence  of  the  foinis  throughout  the  whole  of 
that  dark  pei-iod. 


2   K  2 


500 


ROMANESQUE  ARClllTI'X'TUKE. 


Book  I. 


CHAPTER    III. 


LATEE   EOMANESQUE. 


Ox  tnniing  to  the  other  side  of  Italy,  we  find  no  city  like  Eavenna 
that  took  np  the  style  withiu  the  fii'st  few  centuries  after  the  age  of 
Coustaniine,  so  as  to  enable  us  to  connect  the  past  with  the  more 
certain  traces  of  the  middle  ages.  Florence  was  then,  it  is  true,  a 
city,  and  no  doubt  possessed  churches ;  but  they  were  small  as  com- 
pared -v^ath  those  on  the  east  coast,  and  during  her  time  of  greatest 
prosperity,  which  was  long  afterwards,  these  ancient  churches  Avere  all 
rebiailt,  or  so  repaired  as  to  leave  scarcely  a  trace  of  their  original 
forms.  Hence  the  history  of  Eomanesque  architecture  hardly  begins 
on  this  side  of  Italy  before  the  11th  centuiy.  At  this  period  of  return- 
ing prosperity,  we  find  several  churches  of  great  beauty  and  importance 
retaining  all  the  peculiarities  of  the  true  Eomanesque  style,  with  only 
so  slight  a  trace  of  Gothic  feeling  as  merely  to  show  that  in  the  in- 
terval the  Lombards  had  penetrated  to  these  shores,  and  left  an  impress 
of  their  existence  there,  but  so  slight  as  soon  to  be  obliterated  by  the 
older  civilisation  which  the  new  was  then  incapable  of  superseding. 
Of  these  churches,  one  of  the  most  beautiful  as  well  as  most  perfect 
specimens  is  that  of  S.  Miniato,  near  Florence,  a 
small  basilica  without  transepts,  commenced  in 
the  year  1013,  and  therefore,  as  nearly  as  may  be, 
contemporary  with  the  Duomo  at  Torcello.  Inter- 
nally it  is  only  1 65  ft.  by  70  in  breadth,  divided  into 
three  aisles,  and  longitudinally  into  thi-ee  com- 
partments, by  clustered  piers  supporting  two  great 
arches  which  span  the  nave  and  aisles.  This  coiip- 
ling  of  the  piers  is  the  only  real  Gothicism  in  the 
building,  and  is  one  of  the  very  earliest  instances  of 
a  practice  which  afterwards  became  so  important 
an  element  in  the  new  style  of  art,  by  giving  the 
power  of  using  piers  of  any  required  degree  of 
-T  solidity,  combined  at  the  same  time  with  almost  as 
much  appearance  of  lightness  as  a  single  shaft 
reIr°e.°Vrom^'^P  would  posscss.  The  archcs  that  span  the  nave 
et  ModeJnes™''°^'^°™"'  ^^^  *^^^  ^^  Considered  as  a  first  timid  attempt  at 
Scale  100  ft.  to  1  in.  vaultliig  thc  uavc.     It  is  ti-ue,  the  same  thing  had 

been  attempted  in  Eome,  in  the  Sta.  Praxede,  two 
centuries  earlier,  but  so  clumsily  that  it  was  at  once  abandoned. 
Here,  by  a  little  contraction  of  the  pier  arches  and  the  introduction  of 
another  compound  pier,   the   roof  woidd  have  been   divided   into   3 


380, 

Florence 


ClIAl'.    111. 


FLORENCE— PISA. 


501 


squares,  which  a  buhl  buihler  wouhl  willingly  have  undertaken  to 
vault,  a  task  which  was  undertaken  and  accomplished  before  the  cen- 
tury had  expired. 


IlilllllinillJIll^llllll^lMIUllllilllllMMlllUliiU 


liSl.       Section  ot  ^an  Jliiiuiti),  near  Florence.    From  GailliabaiKl.     Scale  Sd  It.  to  1  in. 

One  of  the  striking  peculiarities  of  this  church  is  the  immense 
crypt,  which  occupies  the  whole  of  the  inner  division,  and  forms  vir- 
tually a  second  church,  or  rather  second  choir,  the  one  rnider  the  other. 
It  can  hardly  be  dr)ubted  that  this  arose  from  its  being  a  conventual 
church,  and  from  tlit;  desire  of  having  the  choir  of  the  ecclesiastics 
wholly  sc]iarated  from  that  to  which  the  laity  were  admitted.  It  was, 
perhaps,  a  better  mode  than  that  of  screening  off  a  gi'eat  part  of  the 
edifice,  which  was  the  method  afterwards  adopted.  The  great  charm 
of  this  church  is  the  elegance  of  its  proportions  and  the  beauty  of  its 
decorations,  which  go  far  to  weaken  the  dogma  that  Gothic  is  the  only 
style  which  can  produce  a  perfect  ecclesiastical  interior.  There  is  a 
purity  and  beauty  of  proportion  about  this  small  church  which  is  not  to 
be  found  at  liome  in  the  greater  basilicas,  which  no  church  in  Eavenna 
had  reached,  and  perhaps  no  earlier  example  had  then  attained  to. 

Pisa  Cathedral. 

Just  half  a  century  after  San  Miniato,  the  celebrated  cathedral  t)f 
Pisa  was  commenced,  certainly  one  of  the  finest  and  most  complete 
churches  in  this  part  of  Italy,  and  the  typical  example  of  a  style 
that  arose  here  out  of  the  classical  during  the  dark  ages.  In  spite 
of  the  admiration  sometimes  lavished  upon  this  style,  one  cannot 
regret  that  after  existing  a  couj)]e  of  centuries  it  was  again  abandoned, 
without  ever  having  extended  beyond  the  province  where  it  was  first 
introduced. 

In  plan  the  cathedral  shows  a  considerable  tendency  towards 
Gothic  forms,  inasmuch  as  the  transepts  extend  considerably  beyond 
the  line  of  the  nave ;  and  we  find  that  extension  of  the  apse  into  a 
choir,  which  we  first  remarked  in  S.  ApoUinare  Nuovo  at  Kavenna, 
carried  here  much  further,  almost  to  the  extent  of  an  inner  church 
beyond  the  transept.  Notwithstanding  this  modification,  however,  it 
is  still  a  five-aisled  basilica  with  the  aisles  vaulted,  and  a  flat  wooden 


502 


ROMA NESQl IE  ARCHITECTURE. 


I  >(HIK 


Chap.  III.  PISA  CATHEDRAL.  503 

]"uof  covering  the  nave,  and  of  considerable  dimensions,  the  width  (jI' 
the  nave  being  lOG  ft.,  the  total  internal  length  310,  and  its  area 
about  42,000,  which  is  nnder  the  average  of  mediaeval  cathedrals. 

Its  internal  architecture  hardly  ditfers  from  that  of  the  lioman 
examples,  except  in  the  introduction  of  bold  and  well-defined  triforium 
galleries  over  the  pier  arches,  which  removed  one  of  the  principal  diffi- 
culties of  the  style  as  practised  in  earlier  examples,  but  at  the  expense 
t)f  so  much  space  lost  for  the  higher  description  of  painting  ;  so  that, 
though  we  may  now  praise  the  change,  it  is  doubtful  how  far  it  was 
au  improvement  in  the  middle  ages.  It  is  easier,  however,  in  bar- 
barous ages,  to  find  builders  than  historic  painters,  and  the  tendency 
to  this  is  observed  everywhere. 

This  church  is  more  remarkable  for  its  external  than  for  its  in- 
ternal architecture  ;  every  part  of  its  exterior  showing  an  extraordinaiy 
exuberance  of  ornament,  considering  how  completely  that  had  been 
neglected  in  all  previous  examples.  Here  the  balance  is  not  only 
restored,  but  the  architect  has  perhaps  erred  on  the  other  side  in  making 
so  much  of  a  decoration  which  is  no  part  of  the  construction,  and  to 
which  no  conceivable  meaning  can  be  assigned.  It  still  remains  to 
trace  the  steps  by  which  this  mode  of  decoration  reached  the  complete- 
ness in  which  we  find  it  here — San  Fiediano  of  Lucca  is  the  only  older 
authentic  example  known,  and  that  diliering  in  no  essential  respect  from 
this  ;  but  it  is  not  difficult  to  see  that  the  motive  was  to  reproduce  the 
effect  of  a  Eoman  or  Grecian  peristylar  temple  with  that  midtiplicity 
of  small  parts  which  was  then  in  vogue.  Nothing,  however,  in  modem 
times,  can  e(pial  the  absurdity  of  the  number  of  false  arches  and 
pilasters  which  are  heie  used,  and  those  who  criticise  severely  the  two 
orders  of  our  St.  Paul's  should  turn  to  the  five  orders  of  this  fac/ade, 
^vitll  their  little  arches  and  umueaning  gables.  One  arcade  over  the 
entrance  and  one  following  the  slope  of  the  roof  are  admissible,  and 
are  often  Tised  in  Italy  in  this  age  with  the  most  pleasing  effect ;  but 
the  piling  four,  one  over  another,  as  is  here  found,  merely  to  hide  the 
walls  and  windows,  and  the  excessive  awkwardness  with  which  it  is 
tried  to  adapt  them  to  the  slope  of  the  roof,  make  u})  an  architectural 
composition  as  clumsy  as  any  ever  attempted  on  the  same  scale,  and 
which  even  the  elegance  of  the  parts  and  the  profusion  of  ornament 
fail  entirely  to  redeem. 

The  flanks  of  the  building  are  better,  as  the  arches  and  pilasters 
there  are  avowedly  mere  ornaments,  and  serve  to  divide  and  IVame  the 
windows,  which  they  neither  hide  nor  interfere  with.  But  the  nidst 
pleasing  part  is  certainly  the  apse,  where  the  thiee  orders  ai'e  \\ell 
proportioned  to  one  another,  and,  though  this  has  been  accomplished 
by  cutting  the  upper  one  short,  the  ronnd  form  and  the  shadow  thus 
attained  are  far  from  unpleasing.  The  pilasters,  however,  that  flank  it 
and  cover  the  transejits  again  produce  the  tlat  unmeaningucss  which 
is  the  great  defect  of  the  building. 

One  of  the  best  featui'es'of  its  details  is  the  ([uaiiiily  of  coloui-  used 
on  the  exterior,  as  an  elegant  and  pleasing  mosaic,  whiili  has  given 
rise  to  this  building  lu'ing  most   absiirdh  called  F>\/.antine     (he  trulli 


504 


UOMANESQUE  ARCHITECTURE. 


Book  T. 


being  tliat,  colour  in  these  early  ages  of  the  art  was  a  inure  common 
external  decoration  than  form.  All  the  Eoman  basilicas  were  adorned 
— on  their  facades  at  least — with  historical  paintings  or  mosaics  of 
figures  and  cniblonis  on  the  flat  surfaces  which  they  now  present  to  us. 
The  peculiarity  of  the  age  at  which  we  are  arrived  is  that  the  archi- 
tects were  obliged  to  adopt  to  a  great  extent  mere  mechanical  mosaic 
decoiation  in  lieu  of  the  higher  class  before  used.  Even  this,  how- 
ever, was  found  afterwards  to  be  more  difficult  than  sculptural  forms, 
which  in  consequence  eventuall}^  prevailed  eveiywhere. 

A  more  pleasing  example  of  this  style  is  to  be  found  in  the  church 
of  8.  Michele  at  Lucca.  This  chuich,  being  somewhat  later  than  the 
cathedral  of  Pisa,  is  free  from  many  of  the  faults  of  that  building. 
Besides  this,  tlie  faults  which  it  possesses  are  less  glaring,  owing  to  its 
comparatively  small  size.  It  has  no  pilasters  nor  any  projection  less 
than  a  half  or  three-quarter  column,  and  every  one  supports  its  little 
arch — thiis  giving  great  unity  to  the  whole  design ;  while  the  exube- 
rance of  the  ornament  with  which  every  part  is  covered,  and  the 
general  elegance  of  every  detail,  render  it  singularly  fascinating  as  an 
architectural  picture,  though  this  repetition  of  eolinnns  and  arches 
might  be  offensive  on  a  larger  scale.  As  an  aichitectural  design  it 
must  be  regarded  as  a  mere  sham — a  building  decorated  without  mean- 
ing or  object,  and  though  avoiding  many  of  the  faults  of  the  Pisan 
cathedral,  still  as  one  of  the  most  false  and  unmeaning  buildings  of 
the  middle  ages. 

TOSCANKLLA. 

At  Toscanella,  near  Viterbo,  there  are  two  churches,  which  at  pre- 
sent constitute  a  group  apart,  though  there  are  no 
doubt  many  other  similar  ones  which  have  not  j'et 
attracted  the  attention  of  travellers.  Besides  the 
intiinsic  beauty  of  their  design  and  details  they 
possess  an  interest  as  being  among  the  latest  speci- 
mens of  the  Romanesque  style,  showing  what  it 
might  have  reached  in  Pome  and  elsewhere  had  not 
the  fatal  facility  of  obtaining  ancient  columns 
tempted  the  architects  to  adapt  these  rather  than 
work  from  designs  of  their  own.  The  plan  of  one 
of  these,  the  church  of  Sta.  Maria,  is  given  in 
woodcut  Ko.  383,  and  a  view  of  part  of  the  interior 
in  the  following  woodcut. 

So  little  change  took  place  in  the  style  in  the 

]iioximity  of  Pome,  that  the  interior  of  Sta.  Maria 

is  generally  ascribed  to  the  6th  century,  though  it 

certainly  belongs  to  the  begiiniing  of  the   13th, 

being  one  of  the  nrnnerous  examples  showing  how 

necessar}'^   it  is  to    take    into   accotnit   locality  as 

well  as  style  in  determining  the  age  of  a  building.     The  pillars  still 

retain  a  resemblance  to  the  Corinthian  order,   except   that  they  are 

far  thicker,  being  well  proportioned  botli   in  the  shaft  and  ca])ital  to 


383.  Plan  of  Sta.  Maria, 
ToscaiicUa.  From  Gail- 
lialiauii. 

Si.:ilo  100  ft.  to  1  in. 


rnAi>.  III. 


TOSCANELLA. 


60 


ouo 


A'l^^  M.  . 


384. 


View  of  the  Interior  of  Sta.  Man;i,  Toscanella.    From  Gailhabaud. 


3H5.        Klrvation  of  Llip  Exterior  of  Sta.  iVlaria,  Toscanella.     Kmm  liailiialiauil.     No  scale. 


506  ItdMANESQQE  ARCHITECTURE.  Book  I. 

tlu'  1(111(1  tlii'V  liiiAi"  to  l)0;ir.  The  arches  too  arc  wide  and  bold, 
and  tU'corated  with  moiddings  as  essentially  Gothic  as  could  he 
tolerated  so  near  to  Home,  and  the  whole  shows  the  Eomauesqiie  as 
eoniplete  and  independent  as  it  ever  became.  It  is  possible  that  it 
may  never  have  been  capable  of  the  development  of  the  Gothic,  but 
there  is  certainly  something  elegant  and  pleasing  in  it  as  shoAvn  heie. 
The  facade  (woodcut  No.  885),  though  of  about  the  same  age  as  the 
inteiior,  shows  considerably  more  Gothic  feeling.  Pei'haps  it  is  some- 
what too  plain  as  it  at  present  stands,  but  it  can  hardly  be  doubted 
that  it  originally  depended  in  a  great  measure  on  painting  fur  its 
adornment,  some  ti'aces  of  which  still  remain  on  its  walls.  Its  three 
doorways  aie  rich  and  beautiful,  and  the  single  arcade  ovei-  the  central 
one  i)leasing  and  appropriate,  while  the  great  central  circular  window, 
though  filled  with  imperfect  tracery,  is  still  a  fine  and  bold  feature 
in  the  design ;  and  when  the  pediment  which  crowned  the  summit  of 
it  was  preserved,  the  whole  must  have  made  up  a  composition  of 
great  merit. 

The  exterior  of  San  Pietro  (the  cathedral)  is  in  outline  almost 
identical  with  this,  but,  being  at  least  a  century  more  modern,  all  that 
was  ornamented  by  painting  at  Sta.  Maria's  is  here  repeated  in  relief, 
so  that  it  now  pi-esents  the  more  pleasing  and  richer  design  of  the  two. 
Its  tletails  are  inferior  in  beauty,  and  it  is  perhaps  a  little  open  to  the 
reproach  of  being  overdone  with  ornament,  but  in  this  respect,  as 
indeed  in  every  other,  it  is  infinitel}'  to  be  })referred  to  the  examples 
from  Pisa  and  Lucca  of  which  we  have  spoken.  Every  part  here  is 
appropriate,  and  has  a  distinct  and  positive  meaning,  and  is  as  un- 
objectionable in  taste  as  it  is  in  design. 

We  should  be  justified  in  asserting  that  this  foim  of  facade  iiiu.vt 
have  been  verj^  common  before  the  16th  century,  from  its  being  the 
one  almost  univei  sally  adopted  by  the  Ivenaissance  architects,  and 
which  Palladio  and  his  followers  have  thoi'oughly  made  theii-  own. 
The  great  Poman  orders,  however,  which  they  substituted  for  the 
delicate  details  of  this  facade,  are  a  singular  instance  of  the  perversion 
of  taste  that  took  place  at  that  age,  and  which  marred  a  style  whicli 
then  bade  fair  to  become  one  of  singulai-  beautv  and  elegance. 

It  would  be  easy  to  adduce  many  more  examples  of  the  Romanescpie 
style  if  our  limits  allowed  it,  but  even  then  the  probability'  is  that  not 
more  than  half  the  examples  that  still  adorn  Italy  would  be  mentioned. 
For  wherever  the  Xorthein  barbarians  on  the  one  hand,  and  the  tSara- 
cens  on  the  other,  did  not  penetrate  and  settle  themselves,  theie  this 
style,  and  this  style  only,  could  be  practised,  with  an  admixtuie  of 
Byzantine  perhaps  on  the  east  coast  of  Apulia :  but  at  Naples  and  all 
n»Tuid  its  beautiful  bay,  and  thence  to  Gapua,  and  from  thence  to  Pome, 
every  church  mifst  have  been  Pomanes([ue.  These  may  now  be  dis- 
figured with  whitewash  and  repaiis.  but  many  beautiful  speciiiiens 
still  no  (lnilit  jcniain  to  reward  the  intelligent  investigatt»r ;  and  a 
work  written  ex}iii\s.sly  u|Hin  this  style  would  restore  to  science  one 
ot  the  most  intei-esting,  if  not  the  most  bi'aiitiliil,  forms  ot  the  aj'l,  and 
one  wliich,  notwithstanding  some   "laiinii'  defects,  has  not.  1  feel  con 


OiiAi'.  III.  BASILICAS.  .  r>07 

viucod,  been  yet  ftiirly  jmlged  or  ujipreciated.  It  never  liad  a  fair  cliance 
in  Home,  owing  to  the  richness  of  that  city  in  old  materials.  Eavenna 
sunk  into  insignificance  before  she  had  time  to  work  it  out.  Florence 
and  Pisa  fell  beneath  barbarian  inflnonce  long  before  they  had  fairly 
settled  down  to  the  task ;  and  such  isolated  examples  as  those  of 
l^orcello,  Toscanella,  &c.  show  rather  what  the  direction  of  the  style 
was  than  illustrate  what  might  have  been  attained  by  any  great  and 
continuous  effort  to  render  it  complete.  Still  even  in  Eome  itself  the 
basilicas  possess  beauties  that  it  is  not  easy  to  rival.  Their  great 
naves,  80  ft.  in  width,  lined  on  each  side  by  noble  ranges  of  pillars 
opening  to  side  aisles,  either  witli  a  second  colonnade  or  a  wall 
covered  with  frescoes,  and  leading  direct  to  the  noble  semicircular 
apse  covered  with  mosaics,  presented  an  ensemUe  more  purpose-like  and 
complete  than  any  Gothic  cathedral  ever  displayed.  It  is  true  a  vaulted 
I'oof  was  impossible  with  such  spacious  dimensions :  but  is  a  stone  roof 
really  an  indispensable  requisite  for  internal  beauty  ?  May  not  wood 
and  metal,  properly  used,  be  allowed  sometimes  to  supply  its  place  ? 
No  one  will  deny  the  beauty  of  the  Gothic  vault ;  but  when  we  con- 
sider the  tours  de  fora  recpiired  to  suspend  it  in  the  au-,  and  how  much, 
both  intei'nally  and  externally,  was  sacrificed  to  obtain  it,  we  may 
perhaps  be  permitted  to  ask  if  it  really  is  an  unmixed  triumph.  But 
whether  so  or  not,  all  Gothic  cathedrals  ftiil  in  having  the  principal 
point  of  grandeur  half  way  down  the  church  at  the  intersection  with 
the  transepts,  beyond  Avhich  the  interest  again  declines  to  the  east  end. 
Sta.  Maria  del  Fiore  at  Florence  avoids  this  bathos,  and  the  first  design 
of  St.  Peter's  caught  the  idea,  though  it  was  somevvhat  spoiled  in  the 
execution.  Our  St.  Paul's  hai^  the  egregious  defect  of  a  vestibule 
110  ft,  in  diameter  leading  to  a  little  choir  less  than  40  ft.,  and  so  with 
most  cathedrals ;  but  nowhere  was  this  avoided  by  such  simple  means 
and  so  effectually  as  in  the  basilicas.  The  long  colonnade  gave  length 
and  perspective  effect.  The  ti'an^.ept  gave  dignity,  and  if  a  flood  of 
light  was  admitted  at  each  end  of  it,  it  must  also  have  given  great 
splendour  to  the  apse  and  its  altar — to  the  objects  in  fact  for  which 
the  church  was  biiilt,  and  to  which  every  other  part  of  the  ai'chitectural 
design  was  and  ought  to  be  subordinate.  It  would  have  been  better, 
no  doubt,  if  a  great  dome  had  covei'cd  the  square  in  front  of  the  apse 
where  the  altar  stood.  It  was  this  that  the  Byzantine  architects  aimed 
at  and  accomplished,  and  it  was  the  one  happy  inspiration  of  the 
Eenaissance  architects.  It  would  have,  however,  required  more  con- 
structive skill  than  the  ai-chitects  of  Eome  possessed  in  the  age  of 
Constantino  or  of  his  successors.  By  attention  to  these  ])rinci})les  it 
would  be  ]>racticalile  now  to  build  a  better  basilica  than  has  yet  been 
built ;  but  still  the  old  exam])les  possess  beauties  well  worthy  of  the 
most  careful  study  of  those  who  would  find  out  where  the  secret  nf 
architectui'al  l»eauiy  has  been  so  long  hidden  from  modern  eves. 


508  ROMANESQUE  ARCHITECTURE.  Book  I. 


CHAPTER    IV. 
CIRCULAR    CHURCHE8. 


COXTEXTS. 


Circular  Churches  —  Tomb  of  Sta.  Costanza  —  Churchos  at  Perugia,  Nocera, 


Kaveuna,  Milan. 


Although  the  earl}'  Christian  architects  used  the  circular  form  of 
building,  which  they  derived  from  the  Romans,  almost  as  frequently 
as  the  i-ectangular,  still  they  never  attempted  it  on  the  same  scale, 
nor  made  it  so  essentially  their  architectural  form  as  the  basilican 
became,  and  it  was  left  for  the  Byzantine  architects  of  the  age  of 
Justinian  to  carry  this  form  to  the  greatest  degree  of  perfection  which 
it  ever  reached,  at  any  rate  previous  to  the  time  of  the  Renaissance. 
Notwithstanding  this,  there  are  still  some  very  remarkable  and  beau- 
tiful Romanesque  circular  buildings,  and  which  contain  at  least  the 
germ  of  all  that  was  afterwards  done  in  this  direction. 

In  speaking  of  them  it  is  necessary  to  bear  in  mind  what  I  have 
before  pointed  out,  that  the  basilica  was  the  place  of  assembly  of  the 
infant  Christian  republic — the  ecclesia  of  the  faithful.  The  circular 
building,  properly  called  the  church  or  kirk,'  was  the  sacramental 
temple — not  a  place  of  assembly,  but  the  place  for  the  initiation  into 
the  sacred  mysteries,  or  for  the  performance  of  the  more  sacred  rites 
of  the  Church. 

It  has  been  already  pointed  out  how  all  those  nations  who  derived 
their  tombs  from  the  Tartar,  not  from  the  Egyptian,  type  adopted  the 
circular  form  wherever  such  was  practicable,  and  how  more  especially 
this  was  done  by  the  Etiiiscans,  and  from  them  adopted  b_y  the  Romans, 
from  whom  again  the  early  Christians  took  it  almost  universally  ;  and 
if  not  all,  certainly  the  greater  part  of  the  earliest  circular  Christian 
building-s  were  tombs,  or  meant  originally  to  be  such,  though  this  was 
afterwards  modified  to  a  very  considerable  extent. 

We  have  certainly  three  circular  buildings  of  the  age  of  Con- 
stantino, differing  from  one  another,  and  containing  in  themselves  the 
types  of  all  subsequent  modifications.  The  earliest  of  them  probably 
is  the  sepulchre  of  his  mother  Helena,  who  died  a.d.  328.  This  tomb 
has  been  already  described,  and  an  elevation  and  section  of  it  given.* 


'  I  believe  the  word  kii  k,  common  to  all  Teutonic  languages,  to  be  derived  from  the  word 
ciiculus  or  cirque,  Teutonic  kirk. 
2  See  p.  344,  woodcut  No.  282. 


Chap.  IV. 


CIRCULAR  CHURCHES. 


509 


The  two  tombs  that  stood  in  the  spina  of  the  circus  of  Nero,  where 
St.  Peter  suffered  martyrdom,  were,  as  shown  in  the  plan  (woodcut 
No.  308),  identical  with  this  one,  both  in 
form  and  dimensions,  and  I  feel  convinced 
owed  their  erection  to  the  same  prince 
who  raised  this  memorial  to  the  memory 
of  his  mother. 

The  next  monument  was  that  which 
he  raised  as  a  tomb  for  his  daughter  Con- 
stantia,  now  known  a*s  the  baj^tisteiy  of 
Sta.  Agnese,  and  probably  used  as  such 
from  its  foundation.  It  differs  from  all 
previous  tumular  arrangements,  inasmuch   sse.   Plan  of  the  Tomb  of  sta.  Costanza, 

■•-.  .  ,  „.-.  Rome.     From  Isabelle,  Edifices  Circu- 

as  the  interior,  though  only  73  it.  m  dia-      lan-es.   Scale  looft.  toiin. 
meter,  is  adorned  by  a  double  range  of 

columns  su^iporting  arches,  on  which  rises  the  drum  or  circular  part 
supporting  the  dome,  which  is  pierced  with  a  clerestory  of  12  windows  ; 
the  lower  part  is  surrounded  by  a  circular  vaulted  aisle,  covered  even 
at  the  present  day  with  its  original  fresco  paintings,  which  are  still  so 
Eoman  in  their  character  as  to  have  induced  the  belief,  long  main- 
tained, that  this  building  was  a  heathen  temple.  Its  form,  however, 
and  the  sarcophagus  of  the  princess,  fovmd  in  one  of  the  twelve  niches 
that  surround  the  aisle,  more  than  suffice  to  prove  this  opinion  erro- 
neous, and  to  assign  to  the  building  its  true  character. 

In  front  of  this  building  was  an  oblong  space  with  circular  ends, 
and  surrounded  on  all  sides  by  arcades ;  its  dimensions  were  535  ft.  by 
130,  and  though  so  ruined  as  hardly  to  allow  of  its  arrangements 
being  now  restored,  it  is  interesting,  as  being  pei'haps  the  only  in- 
stance of  the  "/brw/w,"  which  it  is  probable  was  left  before  all  tombs 
in  those  times,  and  traces  of  which  may  perhaps  be  found  elsewhere, 
though  as  yet  they  have  not  been  looked  for. 

The  third  building  of  this  age  is  the  Lateran  baptistery,  generally 
called- the  tomb  of  Constantine,  and  sometimes  said  to  have  been  a 
tomb  built  by  him.  It  is  very  inferior  to  the  other  two  in  eveiy 
respect.  In  plan  it  is  an  octagon,  only  Go  ft.  in  diameter,  in  the 
centre  of  which  stand  eight  pillars,  connected  the  one  with  the  other 
by  a  very  attenuated  entablature ;  on  their  heads  stand  eight  smaller 
pillars,  which  support  the  roof.'  As  no  part  of  this  is  vaulted,  the 
walls  and  pillars  are  thin  and  lean  compared  with  other  examples  ;  and, 
indeed,  the  whole  bears  the  stamp  of  this  decadence  more  distinctly 
than  any  other  Ijuilding  of  its  age.  It  has,  however,  been  so  much 
altered  in  modem  times,  that  it  is  difficult  to  speak  with  certainty  of 
it ;  and  it  may  have  had  redeeming  features,  whicli  we  cannot  now 
discern. 

The  only  other  important  circular  building  within  the  walls   of 


'  The  architecture  of  this  Imilding  would  tlie  pillars  there  were  removetl  a  little  way 
be  extremely  similar  to  that  of  Diocletiau's  from  the  wall  instead  of  being  attaclied  to  it. 
Temple  of  Ju])iter  at  Spalatro   (p.    31.'>)    if 


510 


ROMANESQUE  ARCHITECTURE. 


Book  1. 


Ivome  of  this  early  a,<;-t'  its  tlini  known  ats  8.  Slc})liam)  IJutuiulo.    Thuiigli 

there  is  nothing  to  tix  its  date 
with  any  precision,  it  is  almost 
certain  that  it  l)elongs  to  the  r)th 
and  0th  centuries  of  the  ( 'hris- 
tian  era.  It  is  210  ft.  in  diame- 
ter, and  its  roof  was  supported 
by  two  ranges  of  columns,  cir- 
cidarly  dis])osod  in  its  interit)r  : 
the  fiist  or  inner  lange  sup- 
porting a  horizontal  architiavc 
like  that  of  8t.  Peter.  In  the 
outer  one  the  pillars  suppt)rt 
arches  like  those  of  St.  Paul's. 
All  the  pillars  are  taken  from 
older  buildings.  The  outer 
aisle  was  divided  into  eight 
compartments  ;  but  in  what 
manner,  and  for  what  purpose, 
it  is  not  now  easy  to  ascertain,  owing  to  the  very  ruined  state  of 

the  building.  Kor  can  it  be  deteimined 
exactly  how  it  was  roofed ;  though  it  is 
probable  that  its  arrangements  were  iden- 
tical with  those  of  the  great  tive-aisled  basi- 
licas, which  it  closely  resembles,  except  in 
its  circiilar  shape. 

This  is  more  clear  in  another  church  of 
the  same  age,  that  of  8ti.  Angeli,  at  Perugia, 
which  is  very  similar  in  dis]iosition.  Of  this 
buildiTig  a  section  is  here  shown,  as  given 
by  M.  Isabellc — jjcrhaps  not  quite  to  be  de- 
pended upon  in  every  respect,  but  still  a 
veiy  fair  representation  of  what  the  arrangements  of  the  circular 
wooden-roofed  clnirches  were.     Its  dimensions  are  less  than  those  of 


3f> 


Plan  of  San  Stepbano  Rotondo.     From  Guteiisolin 
and  Knapp.    Scale  100  ft.  to  i  in. 


^i3s.     Sti.   Angeli,  Pemgio.     From 
Isabelle.    Scale  100  ft.  to  l  in. 


%.'!J:. 


"Wi^ 


3'<9. 


Sti.  Angeli,  Perugia.     From  Isiib'lle,  Edifices  Circulaires. 


Chap.  IV. 


CIRCULAR  CHUECHER. 


511 


San  Stephano,  being  only  115  ft.  in  diameter;  but  it  is  more  regular, 
the  greater  part  of  its  materials  being  appai-ently  original,  and  made 
for  the  place  they  occupy.  In  the  church  of  San  Stepliano.  the  tomb- 
shaped  circular  form  was  prubably  used  as  symbolical  of  liis  martyr- 
dom. That  at  Perugia  was  probably  originally  a  baptistery,  or  may 
have  been  dedicated  also  to  some  martyr  ;  but  in  the  heart  of  Etruria 
this  form  may  have  been  adopted  for  other  reasons,  the  force  of  which 
we  are  hardly  able  at  present  to  appreciate,  though  in  all  cases  locality 
is  one  of  the  strongest  influencing  powers  as  far  as  architectural  forms 
are  concerned. 

At  Nocera  dei  Pagani,  on  the  road  between  Eome  and  Naples, 
there  is  an  extremely  beautiful  circu- 
lar church,  built  undoubtedly  for  the 
purpose  of  a  baptistery,  and  very 
similar  to  the  tomb  of  Constantia, 
known  as  St.  Agnese,  in  plan  and 
o-eneral  ari-an  cement.  It  is  somewhat 
larger,  being  80  ft.  in  diameter.  Its 
principal  merit  is  the  form  of  its 
dome,  which  is  singularly  graceful 
internally.  On  the  exterior  it  shows 
a  pecrdiarity  which  it  is  well  worth 
while  noting,  as  this  is  perhaps  the 
earliest  instance  known  of  a  prac- 
tice that  afterwards  became  rrniversal, 
aird,  indeed,  the  prime  motive  of  the 
Gothic  styles — I  allude  to  the  prac- 
tice of  covering  the  vaults  of  buildings 
with  wooden  roofs.  Notwithstanding 
its  being  so  general,  and  our  familiarity  with  it  being  so  great,  that  we 


390. 


Baptistf  ly  at,  N'ocera  Jei  Pagani. 
Scale  50  ft.  to  X  in. 


39l. 


li.iptisteij  <it  \(Ki  1  I  IK  1  I'an'Mni.     ii   ml     I    i       I    li  it  o  I 'ivonliuivs. 


512  ItOMANESQUE  AHCH1TKCTUJ{E.  Bock  1. 

have  IcaiTicd  to  think  it  no  blemish,  tlierc  cannot  be  a  practice  more 
destnictivc  of  true  architectiii'al  effect,  and  what  is  worse,  of  true 
building  stability.  All  vaults  after  this  age  became  mere  false  ceilings, 
unseen  exiernally,  and  depending  for  their  existence  on  the  mainte- 
nance of  a  very  frail  wooden  covering.  It  ma}^  have  been  difficult  to 
make  naked  vaults  and  domes  pi'oof  against  the  weather.  Still  it  was 
done  before,  and  is  done  by  the  Saracenic  architects  to  the  present  day  ; 
but  the  Gothic  architects  could  not  or  would  not  do  it.  A\'e  here  find 
within  a  century  of  the  time  of  Constantine  the  opposite  practice  com- 
menced, and  except  in  the  rarest  possible  instances,  we  must  look  for 
no  more  true  roofs  in  Europe  even  to  the  present  day. 

Eavenna. 

Eavenna  possesses  several  circular  buildings,  almost  as  interestino- 
as  those  of  the  capital ;  the  first  being  the  baptistery  of  St.  Jolm, 
belonging  to  the  original  basilica,  and  consequently  one  of  the  oldest 
Christian  buildings  of  the  place.  Externally  it  is  a  j^lain  octagonal 
building,  40  ft.  in  diameter.  Internally  it  still  retains  its  original 
decorations,  which  are  singularly  elegant  and  pleasing.  Its  design  is 
somewhat  like  that  of  the  temple  at  Spalatro,  but  with  arcades  substi- 
tuted everywhere  for  horizontal  architraves ;  the  century  that  elapsed 
between  these  two  epochs  having  sufficed  to  complete  the  transition 
between  the  two  styles. 

Far  more  interesting  than  this  is  the  great  church  of  St.  Vitale, 
the  most  complicated,  and  at  the  same  time,  perhaps,  the  most  beau- 
tiful of  the  circular  churches  of  that  age.  In  design  it  is  nearly  identical 
with  the  Minerva  Medica  at  Eome,'  except  that  this  is  an  octagon 

instead  of  a  decagon,  and  that  it  is  wholly 
enclosed  by  an  octagonal  wall,  whereas 
the  Eoman  example  has  besides  two  cur- 
vilinear wings,  enclosing  its  sides.  There 
are  also  some  minor  alterations,  such  as 
the  introduction  of  galleries,  and  the 
prominence  given  to  the  choir  ;  but  still 


-T^    nothing  at  all  to  justify  the  title  of  By- 
-'-  {^    zantine,  usually  applied  to  this  church. 


It  is  in  reality  a  bad  copy  from  a  build- 
ing in  Eome,  and  very  unlike  any  build- 
ing in  the  East  we  are  acquainted  with, 
though  no  doubt  there  are  certain  forms 
of  similarity,  as  indeed  must  be  foiuid 
>-■■''  ^'  '   ■—■-J"  in  all  the  buildings  of  the  age  before 

'''■   ^'''"From-is^abeire. '"'"""■        ^'l^e  final  Separation  of  the  two  churches 

took  place. 
As  will  be  seen  from  the  annexed  plan,  the  diameter  of  the  external 
octagon  is  110  ft.,  of  the  internal  one  only  50,   so  that  the  dome  here 

'   .See  p.  345. 


Chap.  IV. 


RAVENNA— MILAN. 


513 


is  a  third  less  than  that  of  its  prototype,  and  so  completely  had  the 
architects  degenerated  from  the  dome-bnilders  of  Eome,  that  instead 
of  the  scientific  construction  of  the  Minerva  Medica,  this  is  wholly 
comj)osed  of  earthen  pots,  and  protected  hy  a  wooden  roof.  It  is  true 
these  pots  have  been  used  in  the  East  for  domes  and  roofs  from  the 
earliest  ages,  and  form  as  stable  and  as  permanent  a  mode  of  covering  as 
stone  itself,  and  might  easily  be  so  used  as  to  suipass  the  heavier  ma- 
terial for  this  pixrpose.  But  such  is  not  the  case  here  ;  and  though  it 
is  hard  to  blame  what  has  st(Jod  the  wear  and  tear  of  thii'teen  centuiies, 
and  seen  the  fall  of  so  many  of  its  younger  and  more  aspiring  rivals, 
still  the  construction  of  this  dome  serves  to  show  how  excellent  the 
expedient  is,  rather  than  how  it  should  best  be  applied. 


11 

,      I'iMtli iii :|  lilllilMUlf     ■telBjL.IJS :    ijfci 

'.y-;.yy/M/ , ,7'/f.////'/////lr///7. 


393. 


Section  of  St.  Vitale,  Itavonna.     From  Isabelle.    Scale  50  ft.  to  1  in 


A^y. 


Internally  a  good  deal  has  been  done  in  modern  times  to  destroy 
the  simplicity  of  the  original  effect  of  the  building  ;  but  still  there  is  a 
pleasing  effect  produced  by  altei-nating  the  piers  with  circular  columns, 
and  a  lightness  and  elegance  about  the  whole  design  that  renders  it 
unrivalled  in  the  Western  world  among  churches  of  its  class.  It  seems 
to  have  been  admired  by  its  contemporaries  as  much  as  in  modern 
times.  Charlemagne  at  least,  we  know,  copied  it  for  his  own  tomb  at 
Aix-la-Chapelle,  and  many  other  circular  buildings  of  that  age  seem 
to  have  derived  their  inspiration  from  this  one. 

The  church  of  San  Lorenzo  at  Milan,  had  it  not  been  so  much 
altered  in  modem  times,  would  take  precedence  of  San  Vitale  in 
almost  every  respect.  The  date  of  its  erection  is  not  known,  though 
it  certainly  must  be  as  early,  if  not  earlier  than  the  time  of  Justinian. 
Down  to  the  8th  century  it  was  the  cathedral  of  the  city.  It  was 
burnt  to  the  ground  in  1071,  and  restored  in  1119;  the  dome  then 
erected  fell  in  1571,  on  which  it  underwent  its  last  transformation 
from  the  hands  of  Martino  Bassi  and  Pellegrini,  who  so  disfigured  its , 
ancient  details  as  to  leave  considei'able  doubt  as  to  its  anticpiity. 

Its  plan,  however,  seems  to  have  remained  unchanged,  and  shows 
a  further  progress  to  what  afterwards  became  the  Bj^zantine  style  than 
is  to  be  found  either  in  the  Minerva  Medica  or  in  San  Vitale.     It  is 

2   L 


514 


UOMANESQU K  AllClI ITECTU  1{ K. 


Book  1. 


in  fact  Ihe  cailicst  iittcni])!  to  brirg  the  circular  cluircli  to  a  squaio 
.sliapo ;  and  except  tliat  the  four  lateral  colonnades  are  flat  seg-ments  of 
circles,  and  iliat  there  is  a  little  clumsiness  in  the  angles,  it  is  one  of 
the  most  successful  we  know  of  in  that  early  age. 

The  dome  as  it  now  stands  is  octagonal,  which  the  first  dome  cer- 
tainly could  not  have  been.  Tts  diameter  is  70  ft.,  nearl^^  equal  to 
that  of  the  Minerva  Medica,  and  the  whole  diameter  of  the  building 
iiiti'vnallv  142. 


301.      Plan  of  S.  Lorenzo  at  Milan.    From  Quast,  Alt  Christlicht-n,  &c.    Scale  lou  ft.  to  1  in. 

In  front  of  the  church,  in  the  street,  is  a  handsome  colonnade  of 
pillars,  borrowed  from  some  ancient  temple — it  is  said  from  one  dedi- 
cated to  Hercules.  This  leads  to  a  square  atrium,  now  wholly  deprived 
of  its  lateral  arcades ;  and  this  again  to  a  facade,  strangely  altered  in 
modern  times.  0})posite  this,  to  the  eastward  of  the  church,  is  an 
octagonal  building,  apparently  intended  as  a  tomb-house  ;  and  on  the 
north  side  a  similar  one,  though  smaller. 

On  the  south  is  the  baptistery,  about  45  ft.  in  diameter,  and 
approached  by  a  vestibule  in  the  same  manner  as  that  of  Constantine 
at  Eome,  and  the  tomb  of  his  daughter  Constantia :  all  these,  however, 
have  been  so  painfully  altered,  that  little  remains  besides  the  bare 
plan  of  the  building ;  still  there  is  enough  to  show  that  this  is  one  of 
the  oldest  and  of  the  most  interesting  Christian  churches  of  Italy. 

The  building  now  knoAvn  as  the  Baptistery  at  Florence  is  an 
octagon,    108  ft.   in   diameter   externally.      Like   the  last-mentioned 


Chap.  IV.  FLORENCE— PISA.  515 

church,  it  originally  was  the  cathedral  of  the  city,  and  was  erected  for 
that  purpose  apparently  in  the  time  of  Theodelinda,  queen  of  the  Lom- 
bards. If  tliis  was  so,  it  certainly  had  not  originally  its  present  form. 
Mdst  probably  those  columns  which  now  stand  ranged  ronnd  ihe  walls, 
at  that  time  stood  in  the  centre,  as  in  the  Eonian  examples.  If  the 
original  roof  was  of  wood,  it  was  probably  in  two  stories,  like  that  of 
the  baptistery  of  Constantine,  or  it  may  have  been  a  dome  of  more  solid 
materials  like  that  of  ihe  Sta.  Costanza. 

At  the  same  time  when  the  new  cathedral  was  built,  the  older 
edifice  seems  to  have  been  remodelled  both  internally  and  externally 
by  Arnolpho  da  Lapo,  and  both  its  form  and  decoration  so  completely 
changed,  that  it  must  be  considered  rather  as  a  biiilding  of  the  13th 
centur}^  than  of  the  Gth,  in  which  it  seems  originally  to  have  been 
erected.' 

There  can  be  little  doubt  that  many  other  similar  buildings  belong- 
ing to  this  age  still  exist  in  various  parts  of  Italy ;  for  it  is  more  than 
probable  that  almost  all  the  earlier  churches  were  circular,  when  at 
least  the  city  was  not  of  sufficient  importance,  or  the  congregation 
so  numerous  as  to  require  the  more  extended  accommodation  of  the 
basilica.  They  either,  however,  have  perished  from  lapse  of  time,  or 
been  so  altered  as  to  be  nearly  unrecognisable ;  and  we  must  again 
leap  forward  over  the  intervening  centuries  to  the  Pisan  style,  to  find 
the  Eomanesque  as  complete  a  style  as  the  Gothic,  and  possessing 
beauties  and  qualities  of  its  ovsar. 

The  most  perfect  as  well  as  the  most  celebrated  example  of  this 
style  is  the  Baptistery  of  Pisa,  commenced  from  the  designs  of  Dioti 
Salvi,*  about  a  century  after  the  cathedral,  and  showing  that  richness 
and  completeness  which  we  admire  in  San  Michele  at  Lucca  ;  avoiding, 
like  that  church,  the  defects  which  were  pointed  oiit  in  speaking  of 
the  cathedral,  but  still  retaining  the  inherent  faults  of  the  style,  inas- 
much as  the  architecture  is  mere  ornament,  being  neither  an  arcade 
for  shelter,  nor  a  buttress  for  constructive  use.  It  is  also  difficult  now 
to  ascertain  what  the  original  design  really  was,  as  the  works  were 
continued  down  to  the  end  of  the  14th  century,  and  a  great  deal  of  the 
then  fashionable  Gothic  ornament  was  added  to  the  Piornanesque  forms 
of  the  original,  and  so  engrafted  on  and  mixed  up  with  them  as  to 
make  it  difficult  to  distinguish  what  is  mere  addition  which  has  replaced 
the  earlier  forms. 

Internally  the  building  is  exactly  100  ft.  in  diameter.  The  central 
part,  59  ft.  wide,  is  a  circular  colonnade,  with  four  polygonal  piers  and 
pairs  of  pillars  between  them.  This  supports  a  lofty  cone,  internally 
175  ft.  in  height,  the  lower  part  of  which  is  now  covered  externally 
with  a  dome,  which  from  its  ornaments  is  evidently  of  the  1 4th  century, 
and  certainly   not   a  part  of  the  original   design,   which,   like  most 


'  In  this  building  they  now  show  a  sarco-  it  is  impossible  to  distinguish  between  bap- 

phagus  of  ancient  date,  said   to   be  that  of  tisteries  and  tombs. 

GaliaPlacidia,  daughter  of  Theodosius.     She,  ^  One   portion   of  the   building   is  shown 

however,  was  certainly  buried  at  Ravenna;  (woodcut  No.  382). 


l)ut  it  may  be  of  her  time,  and  in  these  ages 


2  L  2 


516 


ROMANESQUE  ARCIIITECTU-RE. 


Book 


Italian  ddmcs  (jf  this  ago,  was  probably  intended  to  have  consisted  of 
siieecssive  circular  stoiies,  each  less  in  diameter  than  that  Ijelow  it, 
the  whole  terminating  in  a  loft}'^  cone.  That  such  Avould  have  been  a 
more  a]>pi-opriate  and  beautiful  feature  than  the  present  ungraceful 
central  toAver  cannot  be  doubted ;  and  if  it  existed,  it  would  really 
render  this  one  of  the  most  beautiful  buildings  of  its  age  and  style. 
Even  as  it  is,  the  beauty  of  its  details  and  the  exuberance  of  its  orna- 
ments render  it  externally  a  most  captivatmg  desig-n,  though  inter- 
nally it  possesses  neither  elegance  of  fonn  nor  beauty  of  any  sort. 

A  more  graceful  design  than  this,  though  insignificant  in  size  and 
richness,  is  the  little  church  of  Sta.  Fosca  in  the  island  of  Torcello,  whose 

basilica  we  have  already  spoken  of.  The 
whole  building  is  only  75  ft.  across ;  the 
dome — ixnfortunatel}'  a  wooden  one — little 
more  than  30  ft.  in  diameter.  But  the 
mode  in  which  it  is  placed  on  its  eight  pil- 
r-|     1^/  ^v\  ^SLTs,  and  the  variety  of  perspective  given 

by  the  breaks  in  the  wall,  the  dignity  of  the 


choir  and  the  general 


arrangement 


are 


395. 


Plan  of  Sta.  Fosca,  Torcello. 
From  Agincourt 


above  all  praise.  Externally,  too,  the 
arcade  is  a  real  one,  not  merely  applique,  as 
in  the  Pisan  examples,  and  affords  both 
shadow  and  relief  to  the  exterior — as 
gracefullj'  at  least,  if  not  more  so,  than  the 
cii'cular  colonnades  of  the  Eonian  temples, 
from  which  the  idea  is  evidently  borrowed. 
The  details  of  these  pillars  also,  and  their  arches,  are  singularly  grace- 
ful, and  make  up  a  whole  as  remarkable  for  its  elegance  as  it  unfortu- 
nately is  for  its  singularity.  It  is  evidently  nearly  the  last  of  its  race  ; 
for  after  this  period,  except  in  an  occasional  baptistery  here  and  there, 
all  reminiscence  of  the  circular  or  polygonal  forms  seems  to  have  been 
abandoned  for  the  rectangular  aiTangement  of  the  basilicas,  which 
thencefoi-ward  were  almost  universally  adopted.' 


'  In  this  and  the  following  chapters  the 
expression  "  East  End  "  is  generally  used  as 
if  synonymous  with  altar  end.  On  this  side 
of  the  Alps  such  an  expression  would  be 
always  correct.  It  is  so  in  nine  cases  out  of 
ten  in  such  German  cities  as  ]\lilan  or  Verona, 
but  is  correct  only  by  accident  in  such  as 
Pisa,  Ferrara,  Bologna,  or  any  of  the  cities 
of  the  South,  where  the  Gothic  races  did  not 


entirely  supersede  the  original  population ; 
but  as  without  very  large  detailed  plans  of 
the  towns  it  is  impossible  to  ascertain  this, 
the  expression  has  been  allowed  to  stand. 

The  orientation  of  churches,  by  turning 
their  altars  towards  the  east,  is  wholly  a 
peculiarity  of  the  Northern  or  Gothic  races  ; 
the  Italians  never  knew  or  practised  it. 


Chap.  V. 


TOMBS. 


517 


CHAPTEK    V. 
ROMANESQUE  ARCHITEOTUEE. 

CONTENTS. 
Tombs  —  Towers  —  Secular  buildings  —  Romanesque  Architecture  in  the  East. 


Tombs. 

It  has  already  been  reiuai-ked  that  it  is  difficult  to  distinguish  in 
all  cases  between  baptisteries  and  tombs ;  but  there  are  at  all  events 
two  of  the  latter  class  of  edifices  at  Eavenna  regarding  which  there 
can  be  no  doubt. 

The  earliest — that  of  Galla  Placidia — now  known  as  the  church  of 
SS.  Kazario  and  Celso,  must  have  been  erected  before  the  year  450. 
It  is  singular  among  all  the  tomljs  of  that  age  from  its  wholly  aban- 
doning the  circular  for  a  cruciform  plan.  Such  forms,  it  is  true,  are 
common  in  the  chambers  of  tumuli  and  also 
among  the  catacombs,  and  the  church  which  Con- 
stantino built  in  Constantinople  and  dedicated 
to  the  Apostles,  meaning  it  however  as  a  sepul- 
chral church,  was  something  also  on  this  plan. 
Notwithstanding,  however,  these  examj^les,  this 
must  be  considered  as  an  exceptional  form, 
though  its  smallness  (it  being  only  35  ft.  by  30 
internally)  might  perhaps  account  for  any  ca- 
price. Its  great  interest  to  us  consists  in  its 
retaining  not  only  its  original  architectural  form, 
but  also  its  polychromatic  decorations  in  a  state 
of  almost  their  original  completeness.'  The 
three  ai-ms  of  the  cross  forming  the  receptacles  for  the  three  sarco- 
phagi is  certainly  a  pleasing  arrangement,  but  only  practicable  on  so 
small  a  scale.  Were  it  larger,  it  would  lose  all  appropriateness  as  well 
as  all  effect. 

Far  more  interesting  than  this — architecturally  at  least — is  the 
tomb  of  Theodoric,  the  Gothic  king,  now  known  as  Santa  Maria 
Rotunda.  The  lower  story  is  a  decagon  externally,  enclosing  a  cruci- 
foi-m  crypt.  It  is  45  ft,  in  diameter,  each  face  being  ornamented  by  a 
deep  niche.  These  support  a  flat  terrace,  on  which  originally  stood  a 
range  of  small  pillars  supporting  arches  which  surrounded  the  upper 


396 


Tomb  of  (ialla  Pliicidia, 
Kaveima. 
From  Quast.     No  scale. 


'  Thusu  are  well  illustrated  in  Quast,  Alt  Christlichen  Bauwerke  zu  Ravenna. 


518 


1U)MANERQUE  Al^CHITECTUllE. 


Book  T. 


3;t7. 


rUm  of  Tomb  of  Tlieodoric. 
Scale  50  ft.  to  1  in. 


stoiy.  These  liavo  all  been  reiuuved,  and  no  t)-acc  of  tlicm  remains 
except  on  tlio  face  of  the  tomb  itself,  where  the  sinkings  of  their  archi- 
traves and  vaults  are  still  distinctly 
shoAvn.  The  most  singular  part  of  the 
building  is  the  roof,  which  is  foimed 
of  one  great  slab  hollowed  oiit  into  the 
form  of  a  fiat  dome — internally  30  ft. 
and  externally  35  ft.  in  diam.eter — and 
forms  certainly  one  of  the  most  singu- 
lar and  appropriate  coverings  for  a 
tomb  perhaps  anywhere  to  be  found. 
Near  the  edge  are  a  range  of  false 
dormer  windows,  which  evidently 
were  originally  used  as  handles  by 
means  of  which  the  immense  mass  was 
raised  to  its  present  position.  In  the 
centre  of  the  dome  is  a  small  square 
pedestal,  on  which,  it  is  said,  once 
stood  the  urn  which  contained  the 
ashes  of  its  founder. 

The  model  of  this  building  seems 
almost  certainly  to  have  been  the  mole 
of  Hadrian,  which  Theodoric  saw,  and 
must  have  admired,  during  his  cele- 
brated visit  to  Eome.  The  polygonal 
arrangements  of  the  exterior,  and  the 
substitution  of  arcades  for  horizontal 
architraves,  were  only  such  changes  as 
the  lapse  of  time  had  rendered  indispensable.  Whether  we  consider 
the  appropriateness  of  the  forms,  the  solidity  of  its  construction,  or 
the  simplicity  of  its  ornaments  and  details,  this  tomb  at  Eavenna  is  not 
surpassed  by  any  building  of  its  class  and  age.  It  deserves  attention, 
besides,  from  being  apparently  the  first  building  to  which  the  style  of 
external  decoration  was  applied  which  we  have  just  been  examining 
in  its  greatest  development  at  Pisa. 


I 

398. 


I  I 

Elevation  of  Tomb  of  Theodoric, 
Ravenna. 
From  Isabelle,  Edifices  Circulaires. 


Towers. 

There  is  perhaps  no  question  of  early  Christian  archeology  involved 
in  so  much  obscurity  as  that  of  the  introduction  and  early  use  of 
towers.  The  great  monumental  pillars  of  the  Romans,  such  for  instance 
as  those  of  Trajan  or  Antoninus,  were  practically  towers,  and  latterly 
their  tombs  began  to  assume  an  aspiring  character  like  that  at  St.  Eemi 
(woodcut  No.  286),  or  those  at  Palmyra  and  elsewhere  in  the  East, 
which  show  a  marked  tendency  in  this  direction.  But  none  of  these 
can  be  looked  upon  as  an  undoubted  prototype  of  the  towers  attached 
to  the  churches  of  the  Christians. 

At  Eavenna,  as  early  as  the  age  of  Justinian,  we  find  circulai' 
towers   attached   to    St.    Apollinare  ad  Classem    (woodcut   No.    376), 


Chap.  v..  TOWEliS.  519 

and  in  tlie  other  cliurchos  of  that  place  they  seem  to  have  been  consi- 
dered as  no  less  necessary  adjuncts  than  they  were  in  after  ages.  At 
tlie  same  time,  it  is  bj^  no  means  clear  that  they  were  erected  as  bell- 
towers  ;  indeed  the  evidence  is  tolerably  clear  that  bells  were 
not  used  in  Christian  churches  till  the  time  of  Pope  Adrian  I.,  some 
two  centuries  later.  What,  then,  were  they  ?  There  is,  I  think,  no 
trace  of  their  being  sepulchral  monuments,  or  that  they  were  designed 
or  used  as  tombs  ;  and  unless  they  were,  like  the  sthanJa.s  of  the 
Buddhists,'  pillars  of  victory,  or  towers  erected  to  mark  sacred  or 
remarkable  spots,  it  is  dilticult  to  say  what  they  were,  or  where  we 
are  to  look  for  an  analogy. 

Be  this  as  it  may,  the  oldest  towers  of  the  circular  form  that  we  are 
acquainted  with  are  those  of  Eavenna,  unless  indeed  some  of  the 
Irish  towers  are  earlier  ;  and  the  last  of  the  series  of  circular  Romanesque 
towers  is  the  famous  leaning  one  at  Pisa,  commenced  in  the  year  1174. 
The  gradations  between  these  two  extremes  must  have  been  the  same 
that  marked  the  changes  in  the  architecture  of  the  churches  to  which 
they  are  attached  ;  but  the  links  that  connect  the  two  are  more  com- 
pletely wanting  in  the  case  of  the  towers  than  in  that  of  the  churches. 

The  tower  of  St.  Apollinare  ad  Classem,  above  referred  to,  the  most 
perfect  of  those  at  Eavenna,  is  a  simple  brick  tower  (see  woodcut  No. 
376),  9  stories  in  height,  the  lower  windows  being  narrow  single 
openings ;  above  there  are  two,  and  the  three  upper  stories  adorned 
with  four  windows  of  three  lights  each. 

The  celebrated  Pisan  tower  (woodcut  No.  382)  possesses  all  the 
peculiarities  of  the  style  to  which  it  belongs — the  lower  story,  35  ft. 
in  height,  having  an  arcade  of  three-quarter  columns,  above  which  are 
six  stories  of  arcades  averaging  something  less  than  20  ft.  each.  It 
was  apparently  after  the  building  of  the  third  of  these  that  the  settle- 
ment took  place  to  which  the  tower  owes  its  jirincipal  celebrity,  as  it 
is  attempted  to  be  set  right  in  the  fourth.  This  part  of  the  tower  is 
52  ft.  in  diameter  ;  but  the  eighth  story,  which  was  not  added  till  the 
middle  of  the  14th  century,  is  hardly  40  ft.  across.  Whether  this  was 
therefore  the  original  design  or  not,  we  do  not  now  know  ;  or  whether 
it  was  adopted  in  consequence  of  the  settlement  of  the  tower  requiring 
a  lighter  superstructure  and  less  altitude  than  was  at  first  intended : 
but  whether  it  is  so  or  not,  it  forms  a  graceful  variety  to  the  monotony 
of  the  six  stories  of  arcades.  Notwithstanding  these  defects  in  the 
design,  and  its  unstable  position,  it  is  one  of  the  most  pleasing  as  well 
as  one  of  the  richest  of  the  Italian  campaniles  of  its  age. 

In  Eome,  in  so  far  as  we  now  know,  the  first  tower  attached  to  a 
church  was  that  built  by  Pope  Adrian  I.,  in  front  of  the  atrium  of  St. 
Peter's ;  but  they  soon  became  common,  and  we  now  find  them 
belonging  to  the  churches  of  S.  Lorenzo  without  the  walls,  S.  Croce  in 
Gerusalemme,  S.  Giovanni,  S.  Paulo,  S.  Clementino,  S.  Giorgio  in 
Velabro,  and  others.  All  these  are  square  in  plan  and  extremely 
similar  in  design,   no  improvement  and  scarcely  any  change  having 

'  See  p.  6. 


520 


ROMANESQU E  AKCHITECTUKE. 


Book  I. 


^ 


(;ikeii   ])l;ico  between   the  iirst  uiid  the  last,  as  if  it  were  an  old  und 
established  form  when  first  adopted.     That  attached  to  Sta,  Maria  in 
^j**iti,  C'osniedin  is  perhaps  one  of  the   best   and   most 

eiimplete.  Its  dimensions  are  small,  its  breadth 
being  little  more  than  15  ft.,  its  height  only  110  ; 
bnt  notwithstanding  tins  there  is  a  ceilain  dignity 
of  design  in  the  whole,  and,  in  a  city  where 
buildings  are  not  genei'ally  tall,  a  sufficiency  of 
height  to  give  prominenee  withoTit  overpuAvering 
other  objects,  which  I'enders  these  Koman  towers 
not  only  beautiful  structures  in  themselves,  but 
singularly  appropriate  ornaments  to  the  buildings 
to  wliich  they  are  attached. 

The  chief  interest  of  these  towers  is  derived 
from  the  numerous  progeny  to  Avhich  they  gave 
birth  :  for  though  there  is  scarcely  a  single  instance 
of  a  square  Romanesque  tower  beyond  the  walls  of 
Home  during  the  period  in  which  this  style  flou- 
rished, the  form  was  seized  upon  with  avidity  by  the 

Gothic  architects  in  all  

the  countries  of  Europe  ; 
and  whether  as  a  detach- 
ed campanile,  as  used  in 
Italy,  or  as  an  integral 
part  of  the  building,  as 
jnyfcisfe,,,-^^  we  shall  soon  find  it  used 
%?,',  ^id  on  this  side  of  the  Alps, 
it  forms  the  most  promi- 
nent, perhaps  also  the 
most  beautiful,  feature 
in  the  as])iring  architec- 
ture of  the  Middle  Ages. 


i^  f^ 


P--^ 


^^^iM 


■^5S^  -^ 


^^^-fm^ 


399.     TuwiT  of  Sta.  Mariu 

ill  Cosmedin. 
From  Gutensohu  and  Knapp . 


Secular  Buildings. 


Very  few  remains  of    'rsS'^^ 


secular  buildings  in  the 


Romanesque  stylo  are  now  to  be  found  in 
Ifcily.  The  palace  of  Theodoric  at  Ravenna, 
though  sadly  mutilated,  is  perhaps  the  best 
and  most  perfect.  In  all  its  details  it  shows 
a  close  resemblance  to  that  of  Diocletian  at 
Spalatro,  more  especially  to  the  Poiia  Aurea 
and  the  most  richly  and  least  classically  deco- 
rated parts  of  that  edifice,  mixed  at  the  same 
time  with  mouldings  and  details  belonging 
properly  to  the  Gothic  styles,  which  were  then  on  the  eve  of  being 
introduced  into  general  use. 

Another  building,  perhaps   slightly  more  modern,    is   the   Porta 


400.       Porta  I'alatina,  Turin. 
From  O&len's  Uauwerke  in  dcr 
Lombardei. 


Chap.  V. 


SECULAR  BUILDINGS. 


521 


Palatiiia  at  Turin,  wliicli  still  retains  the  architectural  ordinance  of  the 
exterior  of  a  Roman  amphitheatre,  but  so  modified  by  Gothic  feeling 
that  the  pilasters  are  even  more  useless  and  immeaning  than  in  its 
classical  prototypes.  The  style  is  evidently  beginning  to  feel  its  own 
strength,  and  learning  to  dispense  with  the  traditional  foi-ms  that  had 
so  long -governed  it.  This  building,  which  cannot  be  dated  more  pre- 
cisely than  by  saying  that  it  belongs  to  the  age  between  Justinian  and 
Charlemagne,  is  probably  the  last  expiring  effort  of  Romanesque  archi- 
tecture in  a  Gothic  country,  though  the  paucity  of  contemporary 
examples  renders  it  extremely  difficult  to  trace  the  exact  history  of  the 
style  at  this  age. 

Another  example — the  Palazzo  della  Ragione  at  Mantua — shows  the 
style  as  it  existed  in 
the  12th  century,  when 
it  had  wholly  emanci- 
pated itself  from  the 
classic  principles  of 
design,  though  still  re- 
taining reminiscences 
of  classic  forms  in  all 
its  details.  It  illus- 
trates also  the  great 
principle  of  Lombard 
design  in  tall  build- 
ings, which  they  al- 
ways sought  to  orna- 
ment by  increasing 
the  number  of  ojoen- 
ings  in  each  story,  and 
decreasing  in  conse- 
quence their  size,  but 
making  them  at  the 
same  time  more  onaa- 
mental. 

If  more  attention 
were  paid  to  the  sub- 
ject, it  is  probable 
that  many  fragments 
of  civil  and  domestic 
architecture  might  be 
found,  sufficient  to  il- 
lustrate the  progress 
of  the  art  in  this  age  ; 
but  civil  buildings  ai'e 
so  generally  altered  to 
suit  the  varying  wants  of  the  community,  that  probably  no  complete 
building  now  remains ;  and  after  all,  the  examples  must  always  have 
been  so  inferior  to  the  ecclesiastical  specimens  as  to  be  far  less  im- 
portant in  any  history  of  art. 


O.JtWITT.BC. 

401.    Gateway,  Palazzo  della  Ragione,  Mantua.     From  Street's 
•  Brick  and  Marble  in  the  Middle  Ages.' 


522  ROMANESQUE  ARCHITECTURE.  Book  I. 

Were  it  possible  without  repetition  and  needless  complexity  to 
treat  the  subject  in  a  perfectly  consecutive  manner,  it  is  here  that  the 
chapter  on  the  Komanesque  styles  of  France  and  Spain  ought  to 
follow.  For  the  latter,  however,  I  fear  we  have  absolutely  no 
materials  as  yet ;  and  though  France  is  rich  in  fragments,  no  edifices 
remain  sufficiently  unchanged  in  form  and  feature  to  enable  us  to 
speak  of  their  architectural  beauties  of  design.  Nor  could  we  from 
these  restore  the  style,  if  we  had  lost  all  trace  of  it  in  other  countries. 
It  will  therefore  be  found  more  convenient,  though  perhaps  not  so 
philosophical,  to  treat  the  French  llomanesque  as  an  incipient  Eound 
Gothic  style,  if  the  expression  may  be  used,  and  by  treating  the  whole 
consecutively,  to  trace  the  gradual  change  of  the  one  into  the  other. 
This  change  in  the  south  of  France  was  singularly  easy  and  gradual, 
for  the  barbarians  never  settled  in  that  country  in  sufficient  numbers 
to  overwhelm  the  more  polished  races,  or  to  obliterate  that  civilisation 
which  the  Eomans  had  established  and  had  left  there.  So  that  till  the 
time  of  Simon  de  Montfort  and  the  crusade  which  placed  him  on  the 
throne  of  Languedoc,  it  is  difficult  to  say  whether  the  Romanesque  or 
the  Gothic  style  had  the  predominance  in  that  country. 

At  the  same  time,  such  specimens  as  the  porch  of  the  cathedi'al  at 
Avignon,  the  baptistery  at  Aix,  and  the  circular  church  at  Eiez,  the  two 
churches  at  Yaison,  and  numerous  other  examples  which  will  be 
alluded  to  in  the  sequel,  are  all  of  such  pure  and  undoubted  Roman- 
esque, that  in  a  work  treating  of  that  style  alone,  they  could  not  pos- 
sibly be  passed  over.  Still  in  the  next  age  many  examples  are  so 
similar  to  them  that  it  requires  no  slight  knowledge  to  distinguish 
between  the  one  and  the  other.  The  Romanesque  here  passes  into  the 
mediaeval  form  by  such  insensible  gradations,  that  it  is  nowhere  pos- 
sible to  draw  a  line  between  them. 

To  all  this  we  shall  return  hereafter ;  and  in  the  mean  time  say 
what  little  can  be  said  regarding  the  Romanesque  style  in  the  Eastern 
empire,  which  concludes  the  present  section  of  the  work. 

Romanesque  Architecture  in  the  East. 

The  almost  total  destruction  of  the  two  great  imperial  cities 
of  the  Levant — Antioch  and  Alexandria^ — has  left  a  gap  in  the 
architectural  history  of  the  Christian  Church  which  will  never  pro- 
bably be  supplied.  In  the  latter  city  especially  the  community  of  the 
Christians  seems  to  have  been  impcjrtaut  as  early  as  the  time  of 
Hadrian,  and  in  the  age  of  Athanasius  they  possessed  a  hierarchy  and 
all  the  organisation  of  a  powerful  society.  Could  we  now  restore 
their  churches,  they  would  leave  little  to  be  desired  in  this  branch 
of  our  subject :  unfortiinately,  not  one  stone  remains  on  another 
of  all  the  proud  structures  of  that  queen  of  the  East,  ^^'e  are  also 
singularly  deficient  of  even  the  usual  rhetorical  descriptions  of  the 
early  Christian  winters,  from  which  we  might  guess  at  the  foiins  and 
dimensions  of  the  l)uildings  that  adorned  the  city.  From  such  frag- 
ments as  still  exist  in  the  Thebaid  and  other  parts  of  Upper  Egypt, 


Chap.  V. 


PERGAMUS. 


523 


there  can  be  little  doubt  but  that  they  were,  like  those  of  Eome,  either 
basilicas  or  circular  churches,  adorned  internally  with  (jolumns  taken 
from  earlier  buildings,  but  at  Alexandria  almost  universally  support- 
ing pointed  arches  instead  of  horizontal  architraves.  The  Christian 
edifices  in  the  Theba'id  at  least  all  possess  this  peculiarity,  and  its 
almost  universal  adoption  by  the  Moslems  in  the  first  century  of  the 
Hejra '  points  to  its  general,  if  not  universal,  use  in  the  countries 
which  they  first  conquered. 

At  Antioch  ^  we  have  only  a  description  of  an  octagonal  church 
erected  by  Constantine,  on  which  Eusebius  lavishes  a  few  of  the 
flowers  of  his  bombastical  eloquence,  from  which  it  is  so  difficult  to 
glean  a  few  grains  of  connnon  sense.  He  is,  however,  more  intclligilde 
in  speaking  of  the  basilica  at  Tyre,'"*  built  by  I'aulinus  the  bishop  in 
the  first  years  of  the  4th  century.  In  every  respect  it  seems  to  have 
resembled  a  3-aisled  Roman  basilica,  with  a  spacious  atrium,  adorned 
by  its  fountain  and  galleries  over  the  side  aisles. 

The  church  at  Pergamus  is  almost  the  only  one  of  this  age  that 
has  been  exammed  with  anything  like  the  care  or  attention  neces- 


402. 


Church  at  Pergamus.    From  a  plan  by  Kd.  Falkener,  Esq.    Scale  100  ft.  to  1  in. 


sary  to  understand  its  peculiarities.  It  is  so  like  a  Pagan  building  in 
many  respects,  that  it  has  frequently  been  taken  for  one,  though  all 
admit  that  it  was  subsequently  used  for  Christian  purposes. 

As  will  be  seen  from  the  woodcut  No.  402,  it  is  a  simple  basilica- 
formed  building  twice  the  length  of  its  breadth,  ending  in  a  simple 
apse  pointing  towards  Jerusalem.     It  originally  had  galleries  on  both 


'  For  further  particulars  the  reader  is  re-      latter  paper  confirms  the  Author's  views  of 


ferred  to  a  paper  read  by  the  Author  to  the 
Royal  Institute  of  British  Architects  on  the 
I8th  of  June,  1849,  and  to  another  on  the 
same  subject  by  Sir  Gardner  Wilkinson,  read 
on  the  16th  of  July  of  the  same  year.     The 


the  matter  to  the  fullest  extent.  Both  papers 
were  reported  in  tlio  usual  litei'ary  periodicals 
of  the  day. 

2  Vita  Coustantini,  iii.  .50. 

*  Eusebius,  Alexand.  Hist.,  x.  14. 


524  ROMANESQUE  ARCHITECTURE.  Book  J. 

sides,  and  tlio  idacos  where  the  beams  were  inserted  are  still  seen  on 
the  walls,  though  it  is  not  clear  how  they  were  supported  in  front. 
It  may  have  been  by  marble  columns,  wliich  would  have  been  easily 
removed,  or  possibly  they  were  of  wood,  and  have  decayed.  On  each 
side  of  the  apse  are  something  like  transepts,  but  opening  only  by 
doors  to  the  church,  and  beyond  these  two  circular  domical  buildings 
with  square  apses.  These  may  have  been  either  sacristies,  or  bap- 
tisteries, or  tombs  ;  there  is  nothing  now  left  to  mark  their  destination  ; 
but  in  the  early  ages  of  the  church  the  complete  ecclesiastical  esta- 
blishment always  consisted  of  a  rectangular  building  grouped  with  one 
or  two  of  circular  fonn.  St.  Peter's  had  two  placed  on  one  side  ;  St. 
SojDhia  has  two  situated  at  the  alternate  angles ;  and  already  several 
instances  have  been  quoted  of  such  a  juxtaposition,  and  many  more 
will  appear  in  the  se(juel :  but  the  typical  example  was  that  at  Jeru- 
salem, which  consisted  of  one  great  circular  building  placed  somewhat 
unsymmetrically  to  the  southward  and  eastward  of  the  basilica,  and 
being  the  most  sacred  and  important  church  in  the  East  of  its  age,  it 
fixed  the  fashion  indelibly  on  all  future  churches  of  its  class. 

This  church  at  Pergamus  is  built  of  brick,  and  was  faced  with 
stone,  but  the  greater  part  of  this  coating,  with  almost  all  the  archi- 
tectural mouldings,  have  been  removed,  so  that  it  is  diflficidt  to  fix  its 
age  with  anything  like  certainty ;  there  can,  however,  be  little  doubt 
but  that  it  belongs  to  the  age  of  Constantine.  It  may  be  as  likely 
a  little  before  as  a  little  after  his  exact  period. 

There  is  another  church  of  the  -ith  century  known  to  exist  at 
Nisibin.'  It  is  a  triple  church,  the  central  compartment  being  the 
tomb  of  the  founder,  the  first  Armenian  bishop  of  the  place.  Though 
much  ruined,  it  still  retains  the  mouldings  of  its  doorways  and  win- 
dows as  perfect  as  when  erected,  the  whole  being  of  fine  hard  stone. 
These  are  identical  in  style  Avith  the  buildings  of  Diocletian  at  Spa- 
latro,  and  those  of  Constantine  at  JeiiTsalem  ;  and  as  their  date  is  well 
known,  they  will,  when  published,  form  a  valuable  contribution  to  the 
scanty  information  we  now  possess  regarding  the  architecture  of  this 
period. 

There  is  every  probability  that  many  more  fi'agments  t)f  Christian 
churches  of  this  eaidy  age  still  remain  in  Asia  Minor  and  Syria,  and 
when  examined  wall  enable  us  to  reconstnict  the  lost  chapter  in  the 
history  of  art ;  but  till  this  is  done,  we  must  rest  content  with  two  well- 
authenticated  buildings  of  the  age  of  Constantine,  which  still  exist  at 
Jerusalem  and  Bethlehem. 


Churches  at  Bethlehem  and  Jerusalem. 

Although  the  church  at  Bethlehem  has  been  frequently  sketched 
in  recent  times,  no  plans  nor  any  details  have  been  published  that  can 


■  Drawings    of   this  building    have  been      artist  employed  by  the  Assynan  Excavation 
recently  brought  home  by  M.   Boutcher,   the      Fund,  and  will  no  doubt  be  one  day  published. 


Chap.  V, 


BETH  LEII  EM— JERUSALEM. 


525 


at  all  be  depended  upon  since  the  time  of  Bernardino  Amici,'  in  tlic 
very  beginning  of  the  IGth  century,  from  whom  the  annexed  plan  is 
taken. 

The  basilica  is  of  the  nsual  form,  5-aisled  and  about  110  ft.  wide, 
and  the  nave  only  a  little  longer  than  its  breadth.  The  arrangements 
of  the  choir  are  peculiar,  owing  apparently  to  the  crypt  being  the 
principal  object  here,  and  the  two  entrances  to  it  requiring  a  different 
disposition  of  parts  to  what  is  usually  found.  There  is  consider- 
able dignity  as  well  as  grace  in  the  arrangement  of  the  3  apses 
shown  in  the  plan,  which  gives  an  expanse  and  importance  to  the 
holy  of  holies,  which,  though  aimed  at,  was  not  attained  in  the  Eoman 
examples. 

The  pillars  of  the  nave  seem  to  have  been  bon-owed  from  some 
earlier  building,  possibly  the  j^orticos  of  the  temple  at  Jerusalem,  and 
are  connected  by  horizontal  architraves,  above  which  are  a  range  of 
frescoes,  now  almost 
obliterated,  but  which 
were,  in  part  at  least, 
probably  coeval  with 
the  chui'ch.^  They  are 
interesting  to  the  ar- 
chaeologist, as  showing 
the  same  scroll-work 
as  is  found  in  the  con- 
temporary church  at 
Jenisalem,  in  the  old- 
est buildings  at  Ra- 
venna, and  in  those  of 
Rome,  where  the  an- 
cient decorations  still 
remain,  by  comparing 
which  it  would  be  easy 
to  restore  this  style  of 
decoration.  As  will  be 
seen  from  the  plan, 
the  church  possessed  a  narthcx,  with  two  lateral  chapels  and  an 
atiium,  destroyed  probably  when  the  cloisters,  which  are  a  mediaeval 
addition,  were  erected  to  supply  its  place.  Besides  these  the  con- 
ventual buildings  were  extensive,  but  all  probably  of  a  more  modein 
date. 

At  Jerusalem  we  know,  from  the  description  of  Eusebius,  that 
Constantino  erected  two  churches :  one,  called  the  Martyrion,  was  a 
5-aisled  basilica,  probably  very  similar  to  the  church  at  Bethlehem, 


;i^^,  ,  M K.I f~  i,,.,^,,..,.,,    ,,„ 


i 

403.    Church  of  the  Nativity  at  Bethlehem.    From  Bernardino  Amici. 


*  Trattato  delle  I'iante  ed  Imagine  di 
Sacri  Edifizi  di  Terra  Santa.  Firenze, 
1620.  I  do  not  feel  quite  sure  that  I  have 
correctly  understood  the  measurements.  I 
have  talcen  the  Neapolitan  palm  at  .865  ft. 
English,  but  the  author  gives  10  of  these  to 


a  carina,  which  is  now  only  6.9  ;  his  quota- 
tions, however,  are  all  in  palms,  so  I  presume 
this  is  the  principal  measure  with  him. 

^  Published    by  Camjiini,    de    Fldif.   Con- 
stantini. 


626 


ROMANRSQUE  ARCHITECTURE. 


T5ooK  I. 


except  tliat  no  mention  is  made  of  a  transept ;  bnt  having  merely  a 
verbal  description,  it  is  not  easy  to  understand  many  of  its  parts.  At 
present  we  must  accept  the  church  just  described  as  a  specimen  of  a 
roctanondar  church,  instead  of  entering  into  the  question  of  its 
details,  which  is  open  to  considerable  controversy. 

One  fragment  of  this  great  basilica  only  remains  in  the  outer  gate- 
way of  the  Atrium,  now  known  as  the  Golden  Gateway.     Externally 


404. 


Interior  of  the  Gokleu  Ualeu aj'.     Fiom  a  drawinp;  by  Catherwood. 
Originally  published  in  Fisher's  '  Oriental  Album." 


it  presents  all  the  characters  of  transition  so  strongly  marked  in  the 
buildings  of  Diocletian  at  Spalatro  (woodcut  Ko.  246).  The  principal 
arches  spring  from  the  capitals  of  Corinthian  pillars,  and  the  whole 
entablature  is  bent  round  the  arch  instead  of  the  architrave  only,  as 
was  the  case  previously.  Internally  the  same  transitional  character  is 
preserved.  The  entablature,  as  shoA\Ti  in  the  woodcut  No.  404,  is  car- 
ried along  the  wall  from  pilaster  to  pilaster  as  a  mere  ornament,  iinder 


Chap.  V. 


JERUSALEM. 


627 


an  arch  wliich  is,  as  in  the  mosque  of  Omar,  the  real  constructive 
form  of  the  roof.  The  order  is  still  purely  Corinthian,  but  of  so 
debased  a  character,  that  it  could  not  liave  been  executed  even  in  the 
East  before  the  time  of  Constantino,  and  as  certainly  cannot  belong  to 

tlie  age  of  Justinian, 

or  to  any  time  ap- 
})i-oaching  his  pe- 
riod, as  will  be  seen 
hereafter. 

The  Ionic  order 
in  the  centre  is  of  a 
more  debased  char- 
acter, but  notimlike 
some  of  the  latest 
specimens  in  Rome, 
and  may  have  been 
copied  from  some 
local  types,  the  ori- 
ginal of  which  we 
do  not  now  possess. 

The  building  now 
known  asthe  moscpie 
of  Omar,'  or  more 
correctly  as  the 
Dome  of  the  Eock, 
is  anotlier  church  of 
this  age,  and  being  of 
a  circular  foim  it 
supplies  those  parti- 
(3ulars  which  the 
church  of  Bethle- 
hem, fi'om  its  foiTH, 
could  not  give,  to 
enable   us  to  judge 

of  the  style  of  that  age  in  Syria.  Fortunately  it  has  been  measured 
and  drawn  with  the  utmost  accuracy  by  two  English  architects, 
Messrs.  Catherwood  and  Arundale,  who  obtained  access  to  it  during 
the  ascendency  of  Mahomet  Ali  in  Syria. 

As  will  be  seen  from  the  annexed  plan,  it  is  an  octagonal  church 


405.      Order  ol  the  (iulden  Gateway.     From  a  drawing  by  Ariuidalo. 


1  In  tlie  year  1847  the  author  published  a 
work  entitled  '  Essay  on  the  Ancient  Topo- 
graphy of  Jerusalem,'  the  object  of  which 
was  to  prove  that  the  building  now  called 
the  Mosque  of  Omar  was  the  identical  church 
raised  over  the  sepulchre  of  our  Lord  by 
Constantine.  Since  that  work  was  published 
several  explorations  have  taken  place,  and 
many  new  facts  have  been  brought  to  light 
bearing  on  the  question.  All  these,  without 
one  single,  exception,  serve  to  confirm  the  facts 


therein  stated.  On  the  other  hand,  not  one  of 
the  data  on  which  the  conclusions  in  the  work 
arc  founded  has  been  either  refuted  or  shewn 
to  be  imfairly  used.  All  this  has  served  to 
confirm  the  author  more  and  more  in  the 
views  originally  propounded ;  and  judging 
from  the  data  before  him,  they  do  not,  to  his 
mind,  admit  of  a  shadow  of  doubt.  As 
the  case,  however,  with  the  public  is  still  sub 
judice,  it  has  not  been  thought  pro])er  to  intro- 
duce the  controverted  facts  into  the  text. 


528 


ROMANESQUE  ARCHITECTURE. 


Book  1. 


'  \0)TUIU4U~ 


of  the  first,  class,   1 48  ft.  in  diameter  internally—  the  central  dome, 
<i(!  ft.  ill  (lijimetcr,  being  supported  by  a  circle  of  12  pillars,  with  4 

great  piers,  the 
outer  circle  hav- 
ing 16  pillars 
and  8  piers.  The 
pillars  are  all  of 
the  Corinthian 
order,  those  of 
the  inner  circle 
being  the  larg- 
est, and  support- 
ing arches  like 
those  in  the  con- 
temporary Ro- 
man buildings. 
The  outer  pillars 
are  connected  by 
an  architrave 
placed  horizon- 
tally under  the 
springing  of  the 
arches,  designed 
evidently  as  an 
ornament,  as  in 
the  Golden  Gate- 
way, because  in 
that  early  age  of 
Christian  art  the 

horizontal  style  still  held  its  ground,  having  for  nearly  2000  years 

been  almost  the  only  one  practised 
in  this  part  of  the  world.  The  details 
of  this  entablature  (woodcut  No.  406) 
are  somewhat  confused  and  overloaded, 
but  not  more  so  than  those  found  in 
Diocletian's  palace  at  Spalatro,  or  the 
contemporary  building.s  in  Rome.  Alto- 
gether they  are  of  singular  elegance, 
though  the  transitional  character  of 
the  architecture  cannot  be  defended 
either  as  a  beaut}-  or  as  a  model  for 
imitation.  Above  the  inner  circle  of 
columns  is  a  highly  ornamented  belt, 
and  over  that  a  clerestory — the  orna- 
ments   being   in  raLsed   stucco-work, 

407.    Plan  of  the  Dome  of  Rock  at  Jerusalem,  l^eightcued  in  effect  ^ith  Colour,  being 
From  Catherwood  and  Anindale.  lJ.^^iJ^u.l.^^l^v.^J.  x  ,  t. 

Scale  TOO  ft.  to  1  in.  the  Only  instance  of  a  complete  deco- 

ration of  the  sort  remaining  entire  and 
perfect  to  the  present  day ;    for  though  the  dimensions  and  disposition 


406.        Order  of  the  Dome  of  the  Rock.     From  a  draw  ing  bi'  Arundale. 


C3 


Chap.  V. 


JERUSALEM. 


529 


of  this  part  arc  repeated  frequently  in  Rome  and  cLsewliere,  as  we 
have  already  had  occasion  to  remark,  it  is  almost  always  more  or  less 
defaced.  The  baptistery  at  Ravenna  is  similar  both  in  style  and 
fonn,  but  that  is  only  painted,  I  believe,  on  a  flat  ground. 

The  present  dome  was  built,  or  at  least  thoroughly  repaired,  some 
two  centuries  ago  by  the  sultans  of  Constantinople,  and  differs  in 
detail  from  its  base,  and  probably  in  form  also  from  the  original 
covering.  The  slightness  of  the  walls  proves  incontestably  that  the 
central  roof  must  always  have  been  of  wood ;  so  also  was  and  is  the 
ceiling  of  the  aisles,  which  remain  neaidy  in  the  state  in  which  they 
were  put  up  in  the  4th  century.  Under  the  central  dome  the  living 
rock,  as  shown  in  the  plan  (woodcut  Xo.  407),  still  stands,  some  15  ft. 
above  the  bases  of  the  columns  that  surround  it.  ' 


'  The  church  of  Bt.  John  at  Damascus 
was  one  of  the  large  Syrian  churches  of 
which  it  is  generally  supposed  sufficient  re- 
mains still  exist  in  the  present  mosque  to 
admit  of  their  being  restored.  A  plan  and 
some  photogra])lis  recently  brought  home  by 
Mr.  Porter  disjiel  this  illusion,  and  con- 
firm the  statements  of  Jelal-ud-din,  who 
states  that  the  Caliph  Al  Walid,  A.n.  8fi, 
entirely  destroyed  the  Christian  church  before 


commencing  the  building  of  his  mosque. 
Apparently  all  that  remains  of  Christian 
times  is  the  western  portal  of  the  atrium  of 
the  church,  a  fragment  of  some  of  the  lateral 
entrances  now  built  into  the  southern  wall 
of  the  mos(jue.  As  for  as  can  be  judged 
from  such  drawings  as  have  been  made,  these 
are  identical  in  style  with  the  Golden  (iatewav 
and  Dome  of  the  Kock  at  Jerusalem,  and  be- 
long to  the  beginning  of  the  4th  century,  A.D. 


2    M 


530 


1-()M1;AI!I>  A1!(!1II1'K(!TUI!1-:. 


IjOok  ]]. 


1^00  K    II. 


LOMBARl^  AND  lllIENISII  ARCIIITECTURE. 


CHAPTER    I. 


LOMBARD  ARCHITECTURE. 


CONTENTS. 


Lombai'dy  —  Histoiical    notice  —  Churcli    of  San    Antonio,    Piaoenza  —  Churches 
at  Novara,  Pavia,  Milan,  Verona  —  Campaniles. 


CHRONOLOGY. 


DATES. 

Charlemagne a.d.  768 

Louis  le  Debunnairc 814 

LDthaiie  I R40 

Louis  II «55 

Louis  III 899 

Conrad  I.  Ilohenstaufeii Oil 

Henry  the  Fowler 918 

OHio "the  Great 036 

OthoIL      , 073 

Otho  III 983 

Henry  11 1002 


DATES. 

Conrail  the  Salique A.D.  1024 

Henry  III 1039 

Henry  IV" 1056 

Henry  V 1106 

liOthaire  II 1125 

Conrad  III 113s 

Frederick  Barbarossa 1152 

Henry  VI i    .      .     1190 

Frederick  II 1212 

Conrudin 1250 

raidolph  of  Hapsburg 1273 


Even  before  the  time  when  Alaric  poured  his  destructive  hordes  into 
the  fertile  phiiiis  of  Italy,  large  bodies  of  German  barbarians  seem  to 
have  settled  themselves  in  the  valley  of  the  Po.  After  tlie  campaigns 
of  Alaric  and  Alboin,  whole  tribes,  under  the  names  of  Goths,  Ostro- 
goths, or  Lombards,  attracted  by  the  amenity  of  the  climate  and  the 
richness  of  the  soil,  and  encouraged  by  the  weakness  and  efteminacy 
of  the  inhabitants,  poured  in  one  continuous  stream  across  the  Alps, 
not  only  as  concpiert  n's  but  as  colonists.  They  brought  with  them  their 
wives  and  families,  and  prepared  to  desert  for  ever  the  forests  where 
they  and  their  forefathers  had  long  dwelt,  to  settle  on  what  was  then  as 
now  the  most  fertile  and  most  beautiful  of  all  the  plains  of  Europe. 

Before  the  age  of  Charlemagne  the  transformation  was  complete : 
the  Alps  were  no  longer  the  boundary  between  Gennany  and  Italy. 
The  valley  of  the  Po  was  inhabited  by  the  same  races  who  occupied 
that  of  the  Rhine.  The  civilisation  of  Rome  was  superseded,  and  the 
])o]mlation  which  had  lung  enjoyed  slothful  security  uudcr  her  impe- 
rial sway  were  either  extinct,  or  so  completely  swamped  by  the  tide 
«>f  hardier  and  more  energetic  races  from  the  North,  that  wo  almost 


ClIAI'.   ]. 


FIMUI.I. 


531 


lose  siglit  (if  tliLMii,  ami  we  may  hereafter  regard  ihe  wholi;  valley  of 
(lie  r<),  ami  the  whole  of  the  central  part  of  Italy,  at  least  as  far  south 
as  Spoleto,  far  more  as  a  part  of  the  rising  empire  of  the  North,  rather 
than  a  remnant  of  the  Mien  power  of  Rome. 

In  such  a  state  of  things  the  philosophical  student  of  architecture 
will  of  course  expect  to  find  this  radical  change  as  distinctly  and  as 
strongly  impressed  on  the  architecture  of  the  land  as  upon  either  its 
liistory  or  its  manners  and  language — nor  will  he  be  disappointed.  The 
change  is  distinct  and  clear.  Indeed,  there  is  no  chapter  in  the  history 
of  architecture  in  which,  from  our  knowledge  of  previous  and  of  con- 
temporary styles,  the  ebb  and  flow  of  various  races  can  be  so  clearly  and 
so  easily  followed  as  in  that  of  the  Lombard  races  of  the  north  of  Italy. 

At  first,  when  the  barbarians  were  few,  and  the  Roman  influence 
still  strong,  they  of  course  were  forced  to  adopt  the  style  of  their  pre- 
decessors, and  to  employ  Italian  builders  to  execute  for  them  works 
which,  as  barbarians,  they  weie  themselves  incapable  of  producing. 
This  state  of  things  continued  in  Ravenna,  Florence,  Pisa,  and  other 
cities,  which  long  after  their  subjection  to  the  barbarian  rule  still 
retained  their  old  population  and  old  traditions,,  and  amongst  them,  as 
we  have  just  seen,  their  old  Romanesque  style. 

The  barbarians,  however,  as  they  became  stronger,  soon  threw  off 
the  trammels  of  an  art  with 
which  they  had  no  sympa- 
thy, to  adopt  one  which  ex- 
pressed their  own  feelings, 
and  was  better  adapted  to 
their  purposes ;  and  al- 
though the  old  influence 
still  lay  beneath,  and  occa- 
sionally even  came  to  the 
surface,  the  art  of  those  ages 
was  Gothic  in  all  essenti- 
als, and  remained  so  during 
nearly  the  whole  period  of 


the  middle  ages. 


It  is  easy  to  trace  the 
general  outline  of  these 
changes,  but  very  difficult 
to  fix  and  settle  either  the 
date  in  AA'hich  they  took 
place  or  the  mode  in  which 
they  were  effected,  owing 
to  the  singular  paucity  of 
authentic     monmnents    of 

the   strictly   Lombard  pe-       408.         Chapei  at  Friuu. 
riod.     Indeed,  except  one 

little  chapel  at  Friuli,  there  is  scarcely  a  single  building  belonging  to 
this  style  which  remains  imaltercid  to  the  present  day,  and  whose  date 
is  anterior  to  the  1  Itli  century. 

■2   M   '2 


From  Gailhabaud. 


532 


LOMIiARD  ARCHITFX'TURE. 


]5noK  II. 


The  chapel  at  Fiiuli,  though  extremely  small,  being  onl}^  18  ft. 
by  30  inside  the  walls,  is  interesting,  as  retaining  all  its  decorations 
almost  exactly  as  they  were  left  by  Gertrude,  duchess  of  Friuli,  who 
erected  it  in  the  8th  century.  It  shows  considerable  elegance  in 
its  detuils,  and  the  sculpture  is  far  better  than  it  aftei-Avards  became, 
though  perhaps  its  most  remarkable  })eculiarity  is  the  intersecting 
vaidt  that  covers  it  {palchre  testudiitaftnn,  as  the  old  chronicle  tenns  it), 
showino-  how  early  was  the  introduction  of  a  feature  which  aftei'vvards 
became  the  formative  principle  of  the  whole  Gothic  style,  and  as 
essentially  its  characteristic  as  the  pillars  and  entablatures  of  the  five 
orders  were  the  characteristics  of  the  classical  styles  of  Greece  and 
Rome.  It  is  essential  to  remark  this,  and  to  bear  it  in  mind  even 
here  ;  for  in  all  the  subsequent  remarks  on  Gothic  architecture,  it  is 
this  necessity  for  a  stone  roof  that  was  the  problem  to  be  solved  by 
the  architects,  and  to  accomplish  which  the  style  took  almost  all  those 
fonns  which  are  so  much  admired  in  it. 

From  this  example  of  the  Carlovingian  era  we  are  obliged  to  pass 
to  the  11th  and  12th  centuries,  the  great  building  age  of  the  Gothic 
nations.  It  is  true,  nevertheless,  that  there  is  scarcely  a  single  im- 
portant church  in  Pavia,  in  Verona,  or  indeed  in  any  of  the  cities  of 
Lombard}^  whose  original  foundation  cannot  be  traced  back  to  a  much 
earlier  period.  Before  the  canons  of  architectural  criticism  were  pro- 
perly understood,  antiquaries  were  inclined  to  believe  that  in  the 
edifices  now  existing  they  saw  the  identical  edifices  erected  during 
the  period  of  the  Lombard  sway.  Either,  howcA'er,  in  consequence  of 
the  rude  construction  of  the  earlier  buildings,  or  because  they  w^ere 
too  small  or  too  poor  for  the  increased  population  and  wealth  of  the 

cities  at  a  later  period,  every  one  of  those 
original  churches  has  disappeared  and  been 
replaced  by  a  larger  and  better  constructed 
edifice,  adorned  with  all  the  improvements 
which  the  experience  of  centuries  had 
introduced  into  the  construction  of  religious 
edifices. 

Judirino-  from  the  rudeness  of  the  earli- 
est  churches  which  we  meet  with  erected  in 
the  11th  centuiy,  it  is  evident  that  the  pro- 
gress that  had  been  made,  up  to  that  period, 
was  by  no  means  equal  to  what  was  accom- 
plished during  the  next  two  centui-ies. 

This  will  appear  fi-om  the  plan  and  sec- 
tion of  St.  Antonio  at  Fiacenza  (woodcuts 
409.   Plan  of  San  Antonio,  Piacenza.  Nos.  400  and  410),  built  in  the  fii"st  years 
Fromosten..  Scale  100 fi.  to  1  in.     ^^  ^^^^  ^-^^^  ccntury,  and  dedicated  in  the 

year  1014  by  the  bishop  Siegfried. 
Its  arrangement  is  somewhat  peculiar,  the  transepts  being  near  the 
west  end.  and  the  octagonal  tower  rising  from  the  intersection  sup- 


Ficdorick  von  Ostcn,  Bnuwovke  in  tier  Lombardei. — Dainistadt,  1852. 


Chap.  I. 


PIACENZA. 


533 


poTtcd  on  8  pillars,  and  the  sqnare  com] dieted  by  4  polygonal  piers. 
The  principal  point,  however,  to  observe  is,  how  completely  the  style 
has  eiTiancipated  itself  from  all  lioman  tradition.  A  new  style  has 
grown  up  as  essentially  different  from  the  Romanesque  as  is  the  style 
of  Cologne  or  York  cathedral.  The  architect  is  once  more  at  liberty 
to  work  out  his  own  designs  without  reference  to  anything  beyond  the 
exigencies  of  the  edifices  themselves.  The  plan  indeed  is  still  a 
reminiscence  of  the  Eomanesquc  ;  but  so  are  all  the  plans  of  Mediaeval 
cathedrals,  and  we  may  trace  back  the  forms  of  the  pillars,  of  the 
piers,  and  the  arches  they  support,  to  the  preceding  style.  All  these 
are  derived  from  Roman  art,  but  the  originals  are  forgotten,  and  the 
new  style  is  wholly  independent  of  the  old  one.  The  whole  of  the 
church  too  is  roofed  with  intersecting  vaults,  which  have  become  an 
integral  part  of  the  design,  giving  it  an  essentially  Gothic  character. 
On  the  outside  buttresses  are  introduced,  timidly,  it  is  true,  but  so  fre- 
(pientl}^  that  it  is  evident  that  there  is  already  no  objection  to  increase 
either  their  number  or  their  depth,  as  soon  as  additional  strength  is 
required  for  wider  arches. 


410. 


0    S      10         2!i  '•0  60  80  100  tZoFett 

Sectiun  of  Cliurch  of  San  Antonio  at  Piacenza.    From  Osten. 


The  windows,  as  in  all  Italian  churches,  are  small,  for  the  Italians 
never  patronized  the  art  of  painting  on  glass,  always  preferring  frescoes 
or  paintings  on  opaque  grounds.  In  their  bright  climate,  very  small 
openings  were  all  that  were  required  to  admit  a  sufficiency  of  light  to 
produce  that  shadowy  effect  which  is  so  favourable  to  architectural 
grandeur. 

lieing  a  parochial  church,  this  building  had  no  baptistery  ijttached 
to  it;  but  there  is  one  at  Asti  so  similar  in  style  and  age,  that  its  })lan 
and  section,  with  those  of  San  Antonio,   will  give  a  very  complete 


■)U 


LOM P.AIU)  A  RC HITECT  U  RE . 


Book  II. 


.._  m 


•111.    Section  and  Plan  of  Baptistery 

at  Asti.    From  Osteu. 

Scale  5U  ft.  to  I  in. 


idc'ii  (if  Lombard  aichitccture  in  tlic  iK'giniiinij;  of  the  11th  century, 
when  it  liad  euiupleiely  shaken  uii"  the  lioiiiau  iulhience,  hut  had  not 

yet  begun  to  combine  the  newly  invented 
forms  with  that  grace  and  beauty  which 
mark  the  moi'c  finished  examples  of  the 
style.  A  pecidiarity  of  this  building  is  the 
gloom  that  reigns  within,  there  being  abso- 
lutely no  windows  in  the  dome,  and  those 
in  the  aisles  are  so  small,  that  even  in  Italy 
the  interior  must  always  have  been  in  com- 
parative darkness. 

The  cathedral  of  Novara,  which  in  its 
present  state  is  one  of  the  most  important 
buildings  of  the  11th  century  in  the  north 
of  Italy,  shows  the 
style  still  further 
advanced.  The  cou- 
pling andgroiiping 
of  piers  are  there 
fully  understood, 
and  tlie  divisions 
of  the  chapels  which  form  the  outer  aisle  are 
in  fact  concealed  buttresses.  The  Italians 
wore  never  able  to  divest  tliemselves  of  their 
partiality  for  flat  walls,  and  never  used 
l)old  external  projections,  as  was  universally 
done  on  the  other  side  of  the  Alps.  They 
had  therefore  recourse  to  this  expedient  to 
conceal  them ;  and  when  this  was  not  avail- 
able they  used  metallic  ties  to  resist  the  thrust 
of  the  arches — an  expedient  which  is  found 
even  in  this  example.  As  will  be  seen  from 
the  plan  (woodcut  No.  412),  it  retains  its 
atrium  connecting  the  basilica  with  the  bap- 
tistery, which  seems  to  have  been  the  almost 
universal  arrangement  in  these  early  times. 
The  following  half-section  half-elevation  of  the 
front  shows  very  distinctly  how  far  the  inven- 
tion of  the  new  style  had  then  gone ;  for  ex- 
cept some  Corinthian  pillars,  bonowed  from 
an  older  edifice,  no  trace  of  Romanesque  archi- 
tecture is  to  be  found  here.  The  design  of 
the  facade  explains  what  it  was  that  suggested 
to  the  Pisan  architects  the  form  to  which  they 
adapted  their  Romanesque  details.  In  both 
styles  the  arcade  was  the  original  model  from 

which  the  whole  system  of  ornamentation  was  taken.  Here  it  is  used 
first  as  a  dischaiging  arch,  then  as  a  mere  repetition  of  a  useful  mem- 
ber, and  lastly  withuut  ])illars,  as  a  mere  ornamental  string-course, 


412.    rian  of  the  Cathedral  at 
Novara.    Scale  100  ft.  to  1  in. 


Chap.  T. 


XOVAltA. 


535 


whicli  al'tunvurds   liccumc   tliL'   most  rinoiiiitc  uiiiumcnt,   not  only  in 
lialy,  but  tlironglioiit  all  Germany. 


Scale       of     Ft-ct 


413.         Elevation  and  Section  of  the  Facaile  of  the  Cathedral  at  Novara.     From  Osten. 


Interesting  as  such  an  example  as  this  is  to  the  architectural  anti- 
quary who  is  tracing  back  and  trying  to  understand  the  forms  of  a  now 
style,  it  would  be  difficult  to  conceive  anything  much  uglier  and  less 
artistic  than  such  a  fa<,-ade  as  this  of  Novara  or  that  of  San  Antonio, 
last  quoted.  Their  sole  merit  is  their  history  and  their  expression  of 
I'ude  energy,  so  characteristic  of  the  people  who  erected  them. 

The  baptistery  is  of  older  date  than  the  cathedral,  probably  anterioi- 
to  the  age  of  Charlemagne ;  and  if  it  had  any  features  whicli  could 
properly  be  called  architectural,  it  ought  perhaps  to  rank  among 
Romanesque  buildings.  In  plan  it  certainly  belongs  to  that  class. 
Its  chief  poiiat  of  interest,  however,  is  that  it  contains  the  germ  of 
those  external  galleries  under  the  roof  which  form  not  only  one  of  the 
most  common  but  certainly  the  most  beautiful  feature  of  the  class  of 
buildings  of  which  we  are  now  treating. 

From  the  elevation  (woodcut  No.  414)  it  will  easily  be  seen  what 
was  the  motive  and  use  of  this  an-angement,  the  first  trace  of  which 
dates  perhaps  as  far  back  as  the  baptistery  at  Nocera  (woodcut  No.  391) 
(jucjted  above ;  for  wherever  a  wooden  roof  was  placed  over  a  circular 
vault,  it  is  evident  that  the  external  walls  must  be  carrird  uj)  higher 
than  the  springing  of  the  arch.  r>ut  il  was  by  iio  means  necessary  that 
this  additional  wall  should  be  so  solid  us  tliai  bi'low.  and  it  was  neces- 


53G 


I.OMBAIJD  AT^CHITKCTURE. 


Book  II. 


414. 


Half  Seciiou,  balf  Klevation,  of  the  Baptistery  at 
Novara.    From  Osten.    ^'o  scale. 


sary  to  introduce  light  ami  air  iiitt)  the  space   between  the   stone  and 
the  wooden  roofs.     Wo  ma.y  add  to  this  the  incongrnity  of  effect  in 

placing  a  light  wooden  roof 
covered  with  tiles  on  a  mas- 
sive solid  wall :  not  only 
therefore  did  the  exigen- 
cies of  the  building,  but  the 
true  princijiles  of  taste,  de- 
mand that  this  part  should 
be  made  as  light  as  pos- 
sible. Such  openings  as 
these  found  in  the  bap- 
tistery at  Kovara  suggested 
an  expedient  which  pro- 
vided for  these  objects. 
This  was  afterw^aids  car- 
ried to  a  much  greater  ex- 
tent. At  first,  however,  it 
seems  only  to  have  been 
used  under  the  roofs  of  the 
domes  with  wliicli  the  Ita- 
lians almost  universally 
crowned  the  intersections 
of  their  naves  with  the 
transepts,  and  round  the  semidomes  of  the  apses  ;  but  so  enamoured 
did  they  afterwards  become  of  this  feature,  that  it  is  frequently  carried 
along  the  sides  of  the  churches,  imder  the  roof  of  the  nave  and  of  the 
aisles,  and  also — where  the  taste  of  it  is  more  questionable — under 
the  slotting  eaves  of  the  roof  of  the  principal  facade. 

There  is  nothing  in  the  style  of  which  we  are  now  speaking  either 
so  common  or  so  beautiful  as  these  galleries.  These  arcades  have  all 
the  shadow  which  a  cornice  gives  without  its  inconvenient  projection, 
and  the  little  shafts  wdth  the  elegant  capitals  and  light  archivolts  have 
a  sparkle  and  brilliancy  which,  no  cornice  ever  possessed.  Indeed,  so 
beautiful  are  they,  that  we  are  not  suii^rised  to  find  them  so  universally 
adopted  ;  and  their  discontinuance  when  the  pointed  style  was  intro- 
duced was  one  of  the  greatest  losses  sustained  by  architectural  art  in 
those  days.  It  is  true  they  would  have  been  quite  incompatible  Avith 
the  thin  walls  and  light  piers  of  the  pointed  styles ;  l)ut  it  may  be 
safely  asserted  that  no  feature  which  those  new  styles  introduced  was 
equally  beautiful  with  these  galleries  which  they  superseded. 

The  church  of  San  Michele  of  Pavia,  which  took  its  present  foim 
either  at  the  end  of  the  11th  or  beginning  of  the  12th  century,  is  one 
of  the  most  interesting  of  this  age,  and  presents  in  itself  all  the 
features  of  a  perfect  round-arched  Gothic  church.  Indeed  there  is 
hardl}'  any  feature  worth  mentioning  which  was  invented  after  this 
date  except  the  pointed  arch  (Avhich  was  a  A'ery  doubtful  improvement) 
and  window  tracery,  which  the  Italians  never  cordially  adopted  oi- 
xniderstood.     The  section  given  in  woodcut  No.  415  shows  its  general 


Chap.  I. 


PAYIA. 


537 


arrangoment.  from  whicli  i1  mHI  1>o  seen  that  well-marked  vaulting- 
shafts  spring  from  the  floor  to  the  roof,  that  the  pier  arches  in  the  wall 
arc  perfectly  distinct  and  well-understood  features,  that  the  angles  of 
the  piers  are  softened  and  ornamented  by  shafts  and  other  ornamental 


415. 


Section  of  San  Michele,  Pavia.    From  Agincourt.    No  scale. 


•1h;        View  of  the  A^si:  ol  San  Mitliele,  I'avia.    From  1  )usoiiiorar<l,  Ics  Arts  au  Moyen  Age.' 


538  LOMBARD  ARCHITECTURE.  Book  11. 


arrangeineuts.  Altu«rothcr,  it  is  evident  that  that  .sixbdivision  uf 
hibour  (if  T  may  use  the  expression)  which  wtus  so  characteristic  of  the 
true  Gothic  style  had  here  been  perfectly  understood,  eveiy  part 
having  its  own  function  and  telling  its  owti  stoiy.  It  only  now 
rc(iuired  a  little  experience  to  point  out  what  were  the  best  and  most 
agreeable  j.roportions,  not  only  as  to  sii^e,  but  as  to  solidity,  to  com- 
plete the  style.  In  a  century  from  the  date  of  .this  church  the 
re(piired  progress  had  been  made,  and  a  century  after  that  time  it 
had  been  carried  too  far,  and  the  artistic  value  of  tlie  style  was  lost  in 
mere  masonic  excellence.  San  Michele  and  the  other  churches  of 
its  age  fail  principally  from  over-heaviness  of  parts  and  a  certain 
clumsiness  in  construction,  which,  though  not  without  its  value  as  an 
expression  of  power,  wants  the  refinement  necessary  for  a  true  work 
of  art.  Externally,  one  of  the  most  pleasing  features  of  this  church 
is  the  apse  with  its  circular  gallery.  Usually  in  Italian  churches  the 
gallery  is  a  simple  range  of  similar  arcades ;  here,  however,  it  is 
broken  into  three  great  divisions  by  coupled  shafts  springing  from  the 
ground,  and  these  again  are  subdivided  by  single  shafts  running  in 
like  manner  thi'ough  the  whole  height  of  the  apse.  The  gallery  thus 
not  only  becomes  a  part  of  the  whole  design,  instead  of  looking  as 
if  it  might  have  been  added  as  an  afterthought,  but  an  agTeeable 
variety  is  also  given,  which  adds  not  a  little  to  the  pleasing  effect  of 
the  building. 

Besides  this,  there  are  at  least  two  other  churches  in  Pavia  which, 
though  altered  in  many  parts,  retain  their  apsidal  aiTangements 
tolerably  perfect.  One  of  these,  that  of  San  Teodoro,  may  be  some- 
what older  than  the  San  Michele,  and  has  its  gallery  divided  into 
triplets  of  arcades  by  bold  flat  buttresses  springing  from  the  ground. 
The  other,  San  Pietro  in  Cielo  d'Oro,  is  considerably  more  modern,  the 
arcade  being  omitted  round  the  apse,  though  introduced  in  the  central 
dome.  It  has  besides  two  subordinate  apses  of  graceful  design,  though 
inferior  to  the  older  examples. 

Though  Milan  must  have  been  rich  in  chui'ches  of  this  age,  the 
only  one  that  now  remains  tolerably  entire  is  San  Ambrogio,  which  is 
so  interesting  a  church  as  almost  to  make  amends  for  its  singularity. 
Historical  evidence  shows  that  a  church  did  exist  here  from  a  very 
early  age.  This  was  rebuilt  in  the  9th  century  by  Anspertus, 
a  bishop  of  the  time,  aided  by  the  munificence  of  Louis  the  Pious  ; 
but  except  the  apse  and  the  older  of  the  two  towers— that  of  the  canons 
— nothing  remains  of  even  that  church,  all  the  rest  having  been 
rebuilt  in  the  12th  century.  The  vaidting  of  the  church,  which  is 
sing-ularly  clumsy,  and  clumsily  fitted  to  the  substructure,  is  the 
work  of  the  13tli  century. 

The  disposition  of  this  church  will  be  understood  from  the  following 
plan,  which  shows  the  atrium  as  well  as  the  church,  the  fonner  being 
virtually  the  nave.  In  other  words,  had  the  church  been  erected  on 
the  colder  and  stormier  side  of  the  Alps,  a  clerestory  would  have  been 
added  to  the  atrium,  and  it  would  have  been  roofed  over ;  and  then 
the  plan  would  have  been  nearly  identical  with  that  of  one  of  our 


Chap.  I. 


MILAN. 


539 


Nortlieni  cathedrals.  If,  besides  this,  there  had  been  a  baptistery  at 
the  western  entrance,  as  at  N(wara,  Piacenza,  or  Torcelh),  we  should 
then  have  had  a  building  with  two 
apses — a  complete  German  cathe- 
dral. As  it  is,  the  atrium  (wood- 
cut No.  418)  is  a  singularly  pleasing 
adjmict  to  the  f{i(.'ade,  removing  the 
church  back  from  the  noisy  world 
outside,  and  by  its  quiet  seclusion 
tending  to  produce  that  devotional 
feeling  so  suitable  to  the  entrance 
of  a  church.  The  facade  of  the 
building  itself,  though,  like  the 
atrium,  only  in  brick,  is  one  of  the 
best  designs  of  its  age,  the  upper 
loggia  or  open  gallery  of  five  bold 
but  unequal  arches  spaced  equally 
with  those  below,  producing  more 
shadow  than  the  fa(;'ade  at  Pisa, 
without  the  multitude  of  small 
parts  there  crowded  together,  and 
with  far  more  architectural  pro- 
priety and  grace.  As  seen  from 
the  atrium  with  its  two  towers,  one 
on  either  flank,  it  forms  a  compo- 
sition which,  is  not  surpassed  by  any 
other  in  this  style,  so  far  as  I  know. 

Owing  to  the  bad  arrangement  of 
the  vaulting,  the  internal  architec- 
ture of  the  church  is  hardly  worthy 
of  that  of  the  exterior ;  but  it  is  a 
pei-fect  museum  of  ecclesiological  antiquities  of  the  best  class.  The 
silver  altar  of  Angilbertus  (a.d.  835)  is  unrivalled  either  for  richness 
or  beauty  of  design  by  anything  of  the  kind  known  to  exist  elsewhere, 
and  the  haldachino  that  surmounts  it  is  also  of  singular  beauty  ;  so  are 
some  of  its  old  tombs  of  the  earliest  Christian  workmanshi]).  Its 
mosaics,  its  pulpit,  and  the  bronze  doors,  not  to  mention  the  brazen 
serpent,  said  to  be  the  very  one  erected  by  Moses  in  the  wilderness, 
and  innumerable  other  relics,  make  this  church  one  of  the  most  inte- 
resting of  Italy,  if  not  indeed  of  all  Europe. 

Generally  speaking,  the  most  beautiful  pait  of  these  Lombaixl 
churches  is  their  eastern  ends.  The  apse  with  its  gallery,  the  tran- 
septs, and  above  all  the  dome  that  almost  invariably  surmounts  their 
intersection  with  the  choir,  constitute  a  group  which  always  has  a 
pleasing  effect,  and  very  often  is  highly  artistic  and  beautiful.  The 
sides,  too,  of  the  nave  are  often  well  designed  and  appro^iriate ;  but, 
with  scarcely  a  single  exception,  the  west  end,  or  entrance  front,  is 
comparatively  mean.  Tlu;  building  seems  to  lie  cut  off  at  a  cei'tain 
lengtli  wilhuut  any  appropriate   finish,   or  anything  to    balance    the 


411 


Plan  of  Sun  iVmbrogio,  Milan.     From 
Ferrario.    Scale  luu  ft.  to  1  in. 


540 


LOMBARD  AI^CHTTEOTUEE. 


I'.O.IK    TI. 


418. 


Alriiuu  of  San  Auibrugio,  Milau.     Fioiu  Fen-ario. 


l)old  projections  towards  the  cast.  The  French  cathedrals,  on  the 
contrary,  while  they  entirely  escape  this  defect  by  means  of  their  bold 
western  towers,  are  generally  deficient  in  the  eastern  parts,  and 
almost  always  want  the  central  dome  or  tower.  The  English  Gothic 
architects  alone  understood  the  proper  combination  of  the  three  parts. 
The  Italians,  when  they  introduced  a  tower,  almost  always  used  it  as 
a  detached  object,  and  not  as  a  part  of  the  design  of  the  church.  In 
consequence  of  this  the  fa(,'ades  of  their  churches  are  frequently  the 
least  happy  parts  of  the  composition,  notwithstanding  the  pains  and 
amoiTut  of  ornament  lavished  upon  them. 

The  elevation  of  the  cathedral  at  Piacenza  (woodcut  No.  419) 
is  a  fair  illustration  of  the  general  mode  of  treating  the  western 
front  of  the  building,  not  only  in  the  11th  and  12th  centuries,  but  after- 
wards, when  a  church  had  a  fa<;'ade  at  all,  for  the  Italians  secnx  to 
have  beeii  seldom  able  to  satisfy  themselves  with  this  part  of  their 
designs,  and  in  consequence  a  great  many  of  their  most  important 
churches  have  not  even  now  been  completed  in  this  respect. 


'   Forraiin,  Mnnumciiti  Sacri  e  I'rofani  ilolF  I.  U.  liasilica  d\  ^.  Aml)roi;io.     Milan,  1824. 


Chap.  I. 


PIACENZA. 


541 


Instead  of  recessing  tlieir  doors,  as  was  the  practice  on  this  side 
of  the  Alps,  the  Italians  added  projecting  porches,  often  of  consider- 
able depth,  and  supported  by  two  or  more  slight  columns  generally 
resting  on  the  backs  of  symbolical  animals.  No  part  of  these  porches, 
as  an  su'chitectural  arrangement,  can  be  deemed  worthy  of  any  com- 
mendation ;  for  in  the  first  place,  a  column  planted  on  an  animal's  back 
is  an  anomaly  and  an  absurdity,  and  the  extreme  tenuity  of  the  pillars, 
as  compared  with  the  mass  they  support,  is  so  glaiing  that  even  its 
universality  fails  in  reconciling  the  eye  to  the  disproportion.  In  the 
present  instance  the  porch  is  two  stories  in  height,  the  upper  being 
a  niche  for  sculpture.  Its  almost  exact  resemldance  to  the  entrance 
porch  below  is  therefin'o  a  defect.  Above  there  is  generally  a  gallery, 
sometimes  only  in  the  centre  ;  sometimes,  as  in  this  instance,  at  the 
sides,  though  often  canied  quite  across  ;  and  in  the  centre  above  this 


■119.        rayuiii;  of  tlif  Cathedral  at  Piaceuza.    From  (Jbaixiy,  Moyeii  Ago  Monuniciiuil. 


542 


LlBIUAltn  AlU'Iiri'KC'I'UKK. 


Book  II. 


thorc  is  iilinuisi  invariubly  u  (lircular  wintlcjw,  the  tracery  of  wliicli  is 
fre(|iieiitly  not  only  elaborately  Imt  beaniifully  omanieiited  with  foliage 
and  various  sculptural  devices. 

Above  this  is  here,  and  in  many  other  instances,  one  of  those  open 
galleries  mentioned  before,  following  the  slope  of  the  roof,  though 
frequently  this  is  replaced  by  a  more  belt  of  semicircular  arches, 
suggesting  an  arcade,  but  in  reality  only  an  ornament, 

Verona. 

Almost  every  important  city  in  Lombardy  shows  local  peculiarities 
in  its  style,  arising  from  some  distinction  of  race  or  tradition.  The 
greater  nundier  of  these  must  necessarily  be  passed  over  in  a  work 
like  the  present,  but  some  are  so  marked  as  to  demand  particular  men- 
tion. Among  these  that  of  Verona  seems  the  most  marked  and  inter- 
esting. This  Roman  city  was  the  favourite  capital  of  Theodoric  the 
Goth — Dietricht  of  Berne,  as  the  old  Germans  called  him — and  was  by 
him  adorned  v\dth  many  noble  buildings  which  have  either  perished 
or  been  overlooked.  There  is  a  passage  in  the  writings  of  his 
friend  Cassiodorus  which  has  hitherto  been  a  stmnbling-block  to 
commentators,  but  seems  to  find  an  explanation  in  the  buildings  here, 
and  to  point  to  the  oa-igin  of  a  mode  of  decoration  worth  remarking 
upon.  In  talking  of  the  architecture  of  his  day  he  speaks  of  "  the 
reed-like  tenuity  of  the  columns  making  it  appear  as  if  lofty  masses  of 

building  were  supported  on  upright 
spears,  which  in  regard  to  substance 
look  like  hollow  tubes."  '  It  might 
be  supposed  that  this  referred  exclu- 
sively to  the  metal  architecture  of  the 
use  of  which  we  find  traces  in  the 
paintings  at  Pompeii  and  elsewhere.^ 
But  the  context  hardly  bears  this 
out,  and  it  is  jirobable  he  refers  to 
a  stone  or  marble  architecture,  which 
in  the  decline  of  true  art  had  aspired 
to  a  certain  extent  to  imitate  the  light- 
ness which  the  metallic  form  had  ren- 
dered a  favourite. 

To  return   to  Verona : — The  apse 

of   the  cathedral   seems    to  have   Ijo- 

longed   to  an  older  ediiice  than  that 

to  which  it  is  now  attached,  as  was 

often  the  case,  that  being  the  most  solid  as  well  as  the  most  sacred 

part  of  the  building.     As  seen  in  the  woodcut  (No.  420),  it  is  orna- 


420.     Apse  of  the  Cathedral,  Verona. 
Hope's  Historj-  of  Architecture. 


From 


'  "  Quid  dicamus  columnarum  junceam 
pioceritatein  ?  ]\Ioles  illas  sublimissimas  quasi 
quibusdam  erectis  hastilibus  contiiicii  sub- 
staiitiaj  qiialitate  concavis  canalibus  excavatas 
vel  mafnis  ipsas  nsstimcs  esse  transfusas.  Caeris 
jmiiccs  factum  quod  metallis  duvissiniis  videas 
expolitum.     Marmorum  juncturas  vi'iias  dica.s 


esse  genitales  ubl  dam  t'alluntur  oculi  laiis 
probatiir  crevisso  miraculi.s."  In  the  above 
metallum  does  not  seem  to  mean  metal  as  we 
now  use  the  word,  but  any  hard  substance 
dug  out  of  tlie  ground. — Cassiodorus  vario- 
rum, lib.  vii.  ch.  15. 
^  See  ]).  Mfi.'J. 


ClIAl'.    I. 


VEIJOXA. 


548 


meiited  witli  ]iiln.stcrs,  classical  in  dcsigii.  Imt  more  attoiniated  than 
any  foiuid  clscAvliore  ;  so  that  I  cannoi  lait  bolicvc  that  this  is  either 
one  ol"  the  identical  Imildings  to  which  Cassiodorns  refers,  or  at  least 
an  early  copy  from  one  of  them. 

At  a  far  later  age,  in  the  12th  centur3%  the  beantiful  chnrch  of 
San  Zenone  shows  traces  of  the  same  style  of  decoration — -pilasters 
lieing  used  here  almost  as  slight  as  those  last  mentioned,  hut  so  elegant 
and  so  gracefully  applied  as  to  form  one  of  the  most  pleasing  deco- 
rations of  the  style.  Once  introduced,  it  was  of  course  repeated  in 
other  buildings,  but  seldom  carried  to  so  great  an  extent  or  employed 
so  gracefully  as  in  this  instance.  Indeed,  whether  taken  internally 
or  externall}',  San  Zenone  may  be  regarded  as  one  of  the  most  pleasing 
and  perfect  examples  of  the  style  to  be  found  in  the  north  of  Italy. 


■121. 


Facade  of  San  Zenone,  Verona.    From  Cliapiiy. 


It  is  wandering  a  little  out  of  the  geographical,  though  not  out  of 
the  architectural,  province  of  which  we  are  speaking,  to  lefer  to  the 
cathedral  at  Zara  in  Dalmatia,  erected  by  Enrico  Dandolo  (1192-1204), 
This  l)uilding  presents  a  singularly  pleasing  specimen  of  the  style. 
The  central  division  being  well  marked,  it  avoids  the  flatness  of  such 
buildings  as  the  cathedral  of  Piacenza,  and  of  so  many  others  in  this 
style ;  and  the  arcades  being  mere  oiTianients,  it  escapes  from  ihe 
anomalies  of  tlic   Pisan  styh-,. though  it  is  easy  to  see   that  the  two 


544 


LOM UA ]{ 1 )  A liCHlTECr U KE. 


lk)OK  II. 


styles  are  derived  from  tlio  wune  urigiiiul — ihc  difference  being  that 
the  catliedral  of  Pisa  is  a  Jumianescine,  thai  of  Zara  a  Gothic,  modifica- 
tion of  one  style  of  architecture,  the  latter  being  by  far  tlie  more  con- 
sistent and  satisfactory. 


The  cathedral  at  Modena  is  another  good  example  of  this  style,  though 
not  possessing  any  features  of  much  novelty  or  deserving  special 
mention.     That  of  Tarma  is  also  important,  tlmugli  hardly  so  pleasing. 


Chap.  I.  CIRCULAR  CHURCHES.  545 

Indeed  scarcely  any  city  in  the  valley  of  the  To  is  without  some  more 
or  less  perfect  churches  of  this  date,  but  none  showing  any  important 
peculiarities  that  have  not  heen  exemplified  above,  unless  perhaps  it 
is  the  apse  of  the  church  of  San  Donato  on  the  ^Murano  near  Venice, 
which  is  decorated  with  a  richness  of  mosaic  to  which  the  purer  Gothic 
style  never  attained,  and  which  entitles  this  church  to  rank  rather 
with  the  Byzantine  than  with  the  Gothic  buildings  of  which  we  are 
treating. 

It  is  extremely  difficult  to  draw  a  line  between  the  pointed  and 
round  arched  Gothic  styles  in  Italy — the  former  was  so  evidently  a 
foreig^l  importation,  so  unwillingly  received  and  so  little  understood, 
that  it  made  its  way  but  slowly.  Even,  for  instance,  in  the  chuich  at 
Vercelli,  which  is  usually  quoted  as  the  earliest  example  of  the  pointed 
style  in  Italy  (built  1219-1222),  there  is  not  a  pointed  arch  nor  a 
trace  of  one  on  the  exterior.  All  the  windows  and  openings  are 
round-headed,  and,  except  the  pier-arches  and  vaults,  nothing  pointed 
appeal's  anywhere.  Even  at  a  later  date  than  this  the  round  arch, 
especially  as  a  decorative  form,  frequently  is  placed  above,  and  alwaj^s 
used  in  preference  to  the  pointed  one.  Instead  therefore  of  attempting 
to  draw  a  line  where  none  in  reality  exists,  it  wdll  be  better  to  pass  on 
from  this  part  of  the  subject  n(jw,  and,  on  returning  to  Italy,  to  take  up 
the  older  style  at  that  point  from  which  we  can  best  trace  the  foima- 
tion  of  the  new.  The  latter  does  not  essentially  differ  from  the  former, 
except  in  the  introduction  of  the  foreign  French  form  of  the  pointed 
arch  and  its  accompaniments,  and  this  cannot  well  be  undeivstood 
without  first  explaining  how  it  rose  in  France.  It  remains  only  to 
say  a  few  words  on  the  peculiarities  which  the  round  form  of  churches 
took  in  the  hands  of  the  early  Lombard  architects,  and  also  a  few 
words  on  the  campanile,  which  forms  so  striking  a  feature  in  the  cities 
of  the  north  of  Italy. 

Circular  Churches. 

In  the  earliest  times  of  Christian  architecture,  as  has  been  already 
seen,  the  circular  form  of  church  was  at  least  as  frequent  as  that  de- 
rived from  the  Eoman  basilicas.  The  latter  description  was  found  in 
process  of  time  much  better  adapted  to  the  extended  circvunstances  of 
Christianity.  Hence  in  the  11th  and  12tli  centuries,  when  so  many  of 
the  early  churches  were  rebuilt  and  enlarged,  most  of  the  old  circular 
buildings  disappeared.  Still  enough  remain  to  enable  us  to  trace, 
though  imperfectly,  what  their  arrangements  were. 

Among  those  which  have  been  illustrated,  perhaps  the  most  inter- 
esting is  that  now  known  as  the  clnu'ch  of  San  Stephano  at  Bologna, 
or  rather  the  circidar  centre  of  that  congeries  of  seven  chui'ches 
usually  known  by  that  name. 

It  is  one  of  those  numerous  churches  of  which  it  is  impossible  to 
predicate  whether  it  was  originally  a  baptismal  or  a  sepulchral  edifice. 
In  old  times  it  bore  both  names,  and  may  have  had  both  destinations, 
but  latterly,  at  all  events,  the  question  has  been  settled  by  the  com- 

2   N 


546 


LOMBAIH)  AT?OHITECTURE. 


Book  IT. 


promise  usually  adopted  in  such  cases,  of  dedicating  it  to  the  first 
martyr,  to  whom  a  sepulchral  fonn  is  especially  appropriate. 

Kotwithstauding  a  considerable  amount  of  ancient  remains  mixed 
the  details,  no  part  of  the  present  church  seems  older  than 


up   m 

the  Carlovingian  era ;  while,  on  tlie  other  hand,  its  extreme  irre- 
gularity and  clumsiness  of  construction  point  to  a  period  before  the 
11th  century.  Its  general  form  is  that  of  an  extremely  irregular 
octagon,  about  60  ft.  in  diameter,  in  the  centre  of  which  stands  a 
circlet  of  columns,  some  coupled,  some  single,  supporting  a  semi- 
circular dome.  The  circumscribing  aisle  is  covered  with  the  usual 
intersecting  ribbed  vault  of  the  1 0th  century,  but  the  whole  is  so  rude 
as  scarcely  to  deserve  mention  except  for  its  antiquity. 

At  Brescia  there  are  two  circular  churches — one,  the  DuomoVecchio, 
may  be,  at  least  the  lower  part  of  it,  of  very  considerable  antiquity, 
but  the  upper  part  has  certainly  been  rebuilt  at  a  more  modern  epoch. 
The  other,  the  church  of  Sta.  Julia,  assumes  the  octagonal  form  above, 
and,  as  it  at  present  stands,  cannot  be  dated  earlier  than  the  12th 
century  :  both,  however,  are  small,  and,  though  interesting,  can  hardly 
be  called  important,  A  better  specimen  than  either  of  these  is  the 
church  of  San  Tomaso  in  Limine,  near  Bergamo, 
which  shows  the  style  in  all  its  completeness. 
From  the  annexed  plan  it  will  be  seen  that  the 
circular  part  is  the  nave  or  entrance  part,  as  in 
Germany  and  England,  as  contradistinguished  from 
the  French  mode  of  arrangement,  where  the  cir- 
cular is  always  the  sanctum,  the  rectangular  the 
nave  or  less  holy  place. 

The  general  plan  of  this  example  is  circular. 
It  is  not  more  than  30  ft.  across  intenially.  In  the  centre  stand 
S  ]nllais,  supporting  a  vaulted  gallery,  forming  a  triforium  or  upper 

stor}^  which,  with  the  dome 
and  its  little  cupola,  raises  the 
whole  height  to  about  50  ft. 
A  small  choir  with  a  semicir- 
cular niche  projects,  as  will  be 
seen,  to  the  eastward. 

The  dimensions  of  the 
building  are  so  small,  that  it 
hardly  deserves  notice,  except 
as  a  perfect  example  of  the 
style  of  the  11th  or  12th  cen- 
tury in  Lombardy,  and  from 
a  certain  propriety  and  ele- 
gance of  design,  in  which  it  is 
not  surpassed,  internally  at 
least,  by  any  building  of  its 
age.  We  must  regret  that  the 
idea  was  never  carried  out  (at  any  rate  we  have  no  example  of  its 
being  sf^)  on  such  a  scale  as  to  enable  us  to  judge  of  the  efiect  of  such 


423.  San  Tomaso  in  Limine. 
Scale  100  ft.  to  1  in. 


•124. 


San  Tomaso.    From  Isalielle,  Edifices  Circulaires. 
Scale  5u  ft.  to  1  in. 


Chap.  1.  CAMPANILES,  547 

a  domical  arrangement  as  is  here  attempted.  Tlie  great  defect  of  all 
one-storied  domes  is  their  lowncss,  both  internally,  and  more  especially 
externally.  The  method  of  Imilding  domes  in  tAvo  stories,  as  here, 
wonld  seem  calcnlated  to  obviate  this  objection ;  bnt  thongh  common 
in  small  sepulchral  chambers,  it  has  never  been  tried  on  a  snfticiently 
large  scale  to  enable  us  to  judge  of  its  real  effect.  After  this  period 
the  cii-cular  shape  was  so  completely  superseded  by  the  rectangular, 
that,  no  further  improvement  took  place  in  the  fonner. 

Campaniles. 

There  is  no  architectural  feature  which  the  Gothic  architects  can  so 
justly  call  their  own  as  the  towers  and  spires  which  in  the  middle  ages 
were  not  only  so  favourite,  but  so  indispensable  a  part  of  their  churches 
and  other  edifices,  becoming  in  fact  as  necessary  parts  of  the  design  ex- 
ternally, as  the  vaults  were  of  the  internal  decoration  of  the  building. 

It  is  true,  as  before  remarked,  that  we  neither  know  where  they 
were  first  invented,  nor  even  where  they  were  first  used  as  applied  to 
Christian  churches — those  of  Eome  or  Eavenna  being  evidently  not 
the  earliest  examples  ;  and  what  is  still  more  unfortunate,  they  have  no 
features  which  betray  their  origin,  at  least  none  have  yet  been 
pomted  out,  though  it  is  by  no  means  impossible  that  a  closer  exami- 
nation would  bring  some  such  to  light.  They  certainly  are  as  little 
classical,  both  in  their  forms  and  details,  as  anything  can  well  be  con- 
ceived to  be ;  nor  can  the  very  name  of  Eomanesque  be  considered 
entirely  appro})riate,  though  we  are  compelled  to  use  it  as  marking 
the  age  and  locality  in  which  they  occur. 

Those  of  which  we  have  already  spoken  are  all  church  towers, 
aimpamles  or  bell-towers  attached  to  churches.  But  this  exclusive  dis- 
tinction seems  by  no  means  to  apply  to  the  Gothic  towers.  The 
tower  of  St.  Mark  at  Venice,  for  instance,  and  the  Toraccio  at  Cre- 
mona, are  evidently  civic  monuments,  like  the  belfries  of  the  Low 
Countries-^  symbols  of  communal  power  wholly  distinct  from  the 
church,  their  juxta-position  to  which  seems  only  to  be  owing  to  all 
the  principal  buildings  being  grouped  together.  This  is  certainly 
the  case  with  a  very  large  class  of  very  ugly  buildings  in  Italy,  such 
as  those  attached  to  the  town-halls  of  Florence  and  Sienna,  or  the 
famous  Assinelli  and  Garisenda  towers  at  Bologna.  These  are  merely 
tall  square  brick  towers,  with  a  machicolated  balcony  at  the  top, 
but  possessing  no  more  architectural  design  than  the  chimney  of  a 
cotton  factory.  Originally,  when  lower,  they  may  have  been  towers 
of  defence,  but  afterwards  became  mere  symbols  of  power. 

There  is  a  third  class,  and  by  far  the  most  numerous,  which  are 
undoubtedly  ecclesiastical  erections  ;  they  are  either  actually  attached 
to  the  churches,  or  so  placed  with  regard  to  them  as  to  leave  no  doubt 
on  the  matter.  There  is  not,  however,  I  believe,  in  all  Italy,  a  single 
example  of  a  tower  or  towers  used,  as  on  this  side  of  the  Alps,  as  inte- 
gral parts  (jf  the  design. 

Sometimes  they  stand  detached,  but  more  generally  are  attached  to 

2  N  2 


548  LOMBARD  ARCHITECTURE.  Book  II. 

some  angle  of  the  building,  the  favourite  position  being  tlie  western 
angle  of  the  southern  transept.  Sometimes  we  find  one  tower  placed 
at  the  angle  of  the  fa(;'ado.  but  this  is  seldom  the  case  when  the  tower 
and  the  church  are  of  the  same  age.  It  is  so  in  the  cathedral  at  Lucca, 
and  ^an  Anibrogio  at  Milan;  and  in  the  latter  instance  a  second  tower 
has  been  added  at  a  later  date  to  balance  the  older  one.  It  does  also 
happen,  as  in  the  instance  of  Novara,  before  qiToted  (woodcut  No.  413), 
that  two  towers  are  actually  parts  of  the  original  design  ;  this,  how- 
ever, is  certainly  the  exception,  not  the  rule. 

In  design  the  Italian  campaniles  diiier  very  considerably  from 
those  on  this  side  of  the  Alps.  They  never  have  projecting  buttresses, 
nor  assume  that  pyramidal  form  which  is  so  essential  and  so  beautiful 
a  feature  in  the  northern  examples.  In  plan  the  campanile  is  always 
square,  and  carried  up  without  break  or  offset  to  two-thirds  at  least  of 
its  intended  height.  This,  which  is  vii-tually  the  whole  design  (for 
the  spire  seems  an  idea  borrowed  from  the  noiili),  is  generally  solid 
to  a  considerable  height,  or  with  only  such  openings  as  serve  to  admit 
light  to  the  stairs  or  inclined  planes.  Above  this  solid  part  one  round- 
headed  window  is  introduced  in  each  face,  and  in  the  next  story  two  ; 
in  the  one  above  this  three,  then  four,  and  lastly  five,  the  lights  being 
merely  separated  by  slight  piers,  so  that  the  upper  story  is  virtually 
an  open  loggia.  There  is  no  doubt  gi-eat  beauty  and  propriety  of 
design  in  this  arrangement ;  in  point  of  taste  it  is  unobjectionable,  but 
it  wants  the  vigour  and  variety  of  the  Northern  tower. 

So  far  as  we  can  judge  from  drawings  and  such  ancient  examples 
as  remain,  the  original  temiinatiou  was  a  simple  cone  in  the  centre, 
and  a  smaller  one  at  each  of  the  four  angles. 

At  Verona  an  octagonal  lantern  is  added,  and  at  Modena  and  Cre- 
mona the  octagon  is  crowned  by  a  lofty  spire,  but  these  hardly  come 
within  the  limits  of  the  epoch  of  which  we  are  now  treating.  So 
greatly  did  the  Italians  prefer  the  round  arch,  that  even  in  their  imita- 
tion of  the  Northern  styles  they  used  the  pointed  shape  only  when 
compelled.  This  circumstance  makes  it  extremely  difficult,  particu- 
larly in  the  towers,  to  draw  the  line  between  the  two  styles  ;  for 
though  pointed  arches  were  no  doubt  introduced  in  the  loth  and  14th 
centuries,  the  circular-headed  shape  continued  to  be  employed  fi-om  the 
age  of  the  Romanesque  to  that  of  the  Kenaissance. 

One  of  the  oldest,  and  certainly  the  most  celebrated  of  the  Gothic 
towers  of  Italy,  is  that  of  St.  Mark's  at  Venice,  commenced  in  the  year 
902;  it  took  the  infant  republic  3  centuries  to  raise  it  180  ft.,  to  the 
point  at  which  the  square  basement  terminates.  On  this  there  must 
originall}^  have  been  an  open  loggia  of  some  sort,  and  no  doubt  with  a 
conical  roof.  The  present  supersti-ucture  was  added  in  the  1 0th  cen- 
tiuy,  and  though  the  loggia  is  a  veiy  pleasing  feature,  it  is  overpowered 
by  the  solid  mass  that  surmounts,  and  by  the  extremely  ugly  square 
extingiiisher  that  crowns  the  whole.  Its  locality  and  its  associations 
have  earned  for  it  a  gi-eat  deal  of  inflated  laudation,  but  in  point  of 
design  no  campanile  in  Ital)"  deserves  it  less.  The  base  is  a  mere 
unornamented  mass  of  brickwork,  slightly  fluted,  and  pierced  misym- 


Chap.  T.  CAMPANILES.  .549 

metrically  witli  small  windows  to  light  the  inclined  plane  within. 
Its  size,  its  height,  and  its  apparent  solidity  are  its  only  merits. 
These  are  no  doubt  important  elements  in  that  low  class  of  archi- 
tectni-al  excellence  of  which  the  Egyptian  pyramids  are  the  type  ;  hut 
even  in  these  elements  this  edifice  must  confess  itself  a  pigmy,  and 
inferior  to  even  a  second-class  pyramid  on  the  banks  of  the  Kile,  while 
it  has  none  of  the  beauty  of  design  and  detail  displayed  by  the  Giralda 
of  Seville,  and  the  other  towers  in  its  neighbourhood. 

The  campanile  at  Fiacenza  (woodcut  No.  410)  is,  perhaps,  more 
like  the  original  of  St.  Mark's  than  any  other,  and  certainly  possesses 
as  little  beauty  as  any  building  of  this  sort  can  possess. 

That  of  San  Zenone  at  Verona  is  a  far  more  pleasing  specimen ; 
and,  indeed,  is  as  beautiful  both  in  its  proportions  and  details  as  any 
of  its  age,  possessing  at  once  the  beauties  and  the  defects  of  the  style. 
Among  the  first  is  an  elegant  simplicity  that  always  is  pleasing,  but 
accompanied  by  a  leanness  and  poverty  of  efi'ect  as  compared  with 
Northern  examples,  which  must  rank  in  the  latter  category. 

The  celebrated  tower  of  the  Ghirlandina  at  Modena  is  perhaps  the 
example  that  enables  us  best  to  compare  these  Italian  with  the  Cis- 
alpine towers,  as  it  possesses  a  well-proportioned  spire  which  is  found 
in  few  of  the  others. 

In  date  it  ought  to  belong  to  the  second  division  of  the  subject, 
having  been  commenced  in  the  13th  and  finished  in  the  14th  century ; 
but  as  before  remarked,  there  is  no  line  of  distinction  between  the 
round  and  pointed  arched  styles  in  Italy,  and  as  this  campanile  seems 
to  be  wholly  without  any  pointed  forms,  we  may  describe  it  here. 

The  whole  height  of  the  tower  is  about  315  ft.,  of  which  less 
than  200  are  taken  lap  in  the  square  part — thus  bearing  a  less  pre- 
dominant proportion  to  the  spire  than  is  found  in  any  other  Italian 
example,  ancl  evidently  meant  to  rival  the  famous  German  spires 
which  had  become  such  favourites  in  the  age  in  which  it  was  built ; 
and  although  it  avoids  many  of  the  errors  into  which  the  excessive 
love  of  decoration  and  of  "■tours  de  force"  led  the  Germans,  still  the 
result  here  is  far  from  satisfactory.  The  change  from  the  square  to  the 
octagon  is  abrupt  and  unpleasing,  and  the  spire  itself  looks  too  thick 
for  the  octagon.  Everywhere  there  is  a  want  of  those  buttresses  and 
pinnacles  with  which,  the  Gothic  architects  knew  so  well  how  to  pre- 
pare for  a  transition  of  fonn,  and  to  satisfy  the  mind  that  the  composition 
was  not  only  artistically  but  mechanically  correct.  The  Italians 
never  comprehended  the  ultimate  principle  of  the  Gothic  styles,  and 
consecpicntly,  though  they  had  far  more  elegance  of  mind  and  used 
better  details,  their  works  fail  to  satisfy  almost  as  much  as  a  modern 
classical  church  or  museum. 

The  same  lemarks  apply  to  the  towers  of  Siena,  Lucca,  Pistoja, 
and  indeed  t(j  all  in  the  north  of  Italy :  all  have  some  points  that 
please,  but  none  is  entirely  satisfactory.  None  have  sufficient  orna- 
ment, nor  display  a  sufficiency  of  design,  to  render  them  pleasing  in 
detail,  nor  have  they  sufficient  mass  to  enable  them  to  dis[)ense  with 
the  evidence  of  thought,  and  to  impress  by  the  simple  grandeur  of 
their  dimensions. 


550 


SWISS  AKCIIITRCTUIJI 


I'OOK 


CHAPTER   II. 
SWITZERLAND. 

CONTENTS. 
Church  at  Roniain-Motier  —  Cathedral  of  Zuricli  —  Ancient  plan  at  St.  Gall. 


A.s  a  country  lying  between  Italy  on  the  one  hand,  and  Germany  on 
the  other,  and  inhabited  hy  races  partaking  of  the  characteristics  of 
both,  Switzerland  onght  to  possess  singular  interest  for  the  archaeo- 
logist, more  especially  as  its  monntain  fastnesses  have  protected  it 
from  the  sudden  inroads  of  the  barbarians,  and  its  poverty  from  the 
rebuildings,  Avhich  are  more  fatal  to  the  researches  of  the  antiquarian 
than  an}'  destntctioii  caused  by  the  violence  of  enemies. 

Hitherto  toiarists  have  been  content  to  admire  the  beauties  of  the 
scenery,  and  it  was  not  till  the  publication  of  the  work  of  M.  Bla- 
vignac  that  any  means  were  available  to  the  public  for  judging  of  the 
treasures  of  antiquity.  The  work  refen-ed  to  comprises  onlj'  the 
western  part  of  Switzerland,  and  the  period  anterior  to  the  11th  cen- 
tury ;  still  it  suffices  to  show  how  rich  the  coinitry  is,  and  how  niiuli 
we  may  expect  when  it  is  more  fully  examined. 

Among  the  chiirches  illustrated  in  this  work,  ono  of  the  earliest 

and  most  interesting  is  that  of  Romain-Mo- 
tier,  the  body  of  which  certainly  remains  as 
it  was  when  consecrated  in  the  year  753. 
The  narthex,  which  is  in  two  stories,  may  be 
a  century  or  two  later,  and  the  porch  and 
east  end  are  of  the  pointed  style  of  the  12th 
or  13th  centuries.  The  vaulting  of  the  nave 
also  can  hardly  be  poeval  with  the  original 
building. 

From  other  examples  in  the  neighbour- 
hood, we  may  safely  infer  that  it  originally 
terminated  eastward  in  three  apses.  Sup- 
posing these  to  be  restored,  we  have  a  church 
of  about  150  ft.  in  length  by  55  in  width 
across  the  nave,  with  transepts,  a  tower  at 
the  intersection,  and  nearly  all  the  arrange- 
ments found  at  a  much  later  age,  and  with 
scarcely  any  details  of  the  Romanesque  style. 
The  external  mode  of  decoration  is  very  much  that  of  the  two 


■125.     rian  of  the  Church  of  Eomain- 

JVIotier.    From  Blavignac' 

Scale  100  ft.  to  l  in. 


'   Histoire  de  rArchitecture  Sacree  (1114"  au  10""=  Sifecle  dans  les  EvechiJs  de  Geneve,  Lau- 
sanne, et  Sion,  1853. 


Chap.  TI. 


ROMAIN- HOTTER— GRANSON. 


ool 


426. 


View  of  tlie  Cliurdi  uf  Komaiii-Mutier.     From  Blavigiiac. 


churclies  of  San  Apollinare  at  Ravenna,  but  carried  one  step  further, 
inasmuch  as  in  the  upper  story  of  the  nave  each  compartment  is 
divided  into  2  arches,  with  no  central  suppoi-t. ;  in  the  tower  there 
are  3  such  little  arches  in  each  bay,  in  the  narthex  5.  This  aftei'wards 
became  in  Germany  and  Italy  the  favourite  string-course  moulding. 

The  church  of  Granson,  on  the  borders  of  the  lake  of  Neufchatel, 
though  much  smaller,  is  scarcely 
less  interesting.  It  belongs  to 
the  Carlovingian  era,  and  like 
many  churches  of  that  age,  has 
borrowed  its  pillars  and  many 
of  its  ornaments  from  earlier  mo- 
numents. Its  most  remarkable 
peculiarity  is  the  vault  of  the 
nave,  which  shows  how  timid- 
ly at  that  early  period  the 
architects  undertook  to  vault 
even  the  narrowest  spans,  the 
whole  nave  being  only  30  ft. 
wide.  It  is  th-e  earliest  speci- 
men we  possess  of  a  mode  of 

vaulting  which  subsequently  became  very  common  in  the  south  of 
France,  and  which,  as  we  shall  see  hereafter,  led  to  most  of  the  forms 
of  vaulting  afterwards  introduced. 

Tlie  church  of  Notre  Dame  de  Neufchatel,  part  of  whicli  is  as  ohl 
as  from  927  to  954,  presents  also  foims  of  l)eauty  and  interest.     'Ihe 


)o2 


SWISS  ARCHITECTURE. 


Book  11. 


same  may  be  saiJ  oi"  the  tower  of  Ihe  catlieclral  of  Sion,  wliicli  is  of 
tlie  same  age,  and  of  parts  also  of  the  cathedral  of  Geneva. 

The  chureh  at  rayernc  is  ver}-  similar  in  size  and  all  its  aiTange- 
ments  to  that  of  Komain-Motier  :  but  being  two  eentnries  more  modern, 
the  transition  is  complete,  and  it  shows  all  the  peculiarities  of  a  round- 
arched  Gothic  style  as  completely  as  San  Michele  at  Pavia,  or  any 
other  church  of  that  age. 

Besides  these,  there  are  five  or  six  other  churches  illustrated  in  M. 
Blavignac's  work,  all  presenting  interesting  peculiarities,  and  from 
their  early  age  A'ery  deservmg  of  study. 

One  other  building  of  a  somewhat  later  date,  the  Cathedral  of 
Zurich,  of  which  a  view  and  plan  are  given  in  woodcut  No.  428, 
seems  to  have  attracted  much  attention,  but  certainly  not  more  than  it 
deserves  from  the  interest  due  to  its  architectiu'al  beauties  and  the 
elegance  of  its  details. 

Its   date    is   not   correctly  known ;    for   though  it   seems    that   a 

church  was  founded  here  in  the 
time  of  Otho  the  Great,  it  is  very 
uncertain  whether  any  part  of  that 
building  is  incorporated  in  the  pre- 
sent edifice,  the  bulk  of  which  is 
evidently  of  the  11th  or  12th  cen- 
turies. The  arrangement  and  de- 
tails of  the  nave  are  so  absolutely 
identical  with  those  of  San  Michele 
at  Pavia,'  that  both  must  certainly 
belong  to  the  same  epoch,  as  they 
do  to  the  same  architectural  pro- 
vince. But  in  this  church  we  meet 
with  several  German  peculiarities 
which  it  may  be  well  to  draw  at- 
tention to  at  once,  as  we  shall  have 
frequent  occasion  to  refer  to  them 
hereafter. 

The  first  of  these  is  the  absence 
of  any  entrance  in  the  west  front. 
Where  there  is  an  apse  at  either  end,  as  is  frequently  the  case  in  the 
German  churches,  the  cause  of  this  is  perfectly  intelligible ;  but  the 
Cathedral  of  Zurich  has  not,  and  never  had,  an  apse  at  the  west  end, 
nor  can  I  suggest  any  motive  for  so  unusual  an  arrangement,  unless  it 
is  that  the  prevalence  of  the  plan  of  two  apses  had  rendered  it  more 
usual  to  enter  churches  in  Germany  at  the  side,  and  it  was  conse- 
quently adopted  even  where  the  true  motive  was  AA'anting.  In  an 
architectirral  point  of  view  it  certainly  is  a  mistake,  and  destroys  half 
the  effect  of  the  chiu'ch  both  internally  and  externally ;  but,  as  we 
shall  afterwards  see,  it  was  very  common  in  Germany  befoi'e  they  leamt 
from  the  Fi'ench  to  make  a  more  artistic  arrangement  of  the  parts. 


-128. 


View  and  Plm  of  the  Cathedral  al  Zurich. 
From  Voselin. 


See  11.  5.T7. 


ClTAP.  11. 


zunicH. 


553 


Another  pcciiliaiity  is  the  distinct  preparation  for  two  towers  at 
the  west  end,  as  proved  by  the  two  great  piers,  evidently  intended  to 
support  their  inner  angles.  Frequently  in  Gennany  the  whole  west 
end  was  ctu-ried  np  to  a  considerable  height  above  the  roof  of  the 
nave,  and  either  two  or  three  small  spires  placed  on  this  frontal 
screen.  This,  however,  does  not  appear  to  have  been  the  case  here  ; 
for  though  the  two  towers  that-  now  adorn  it  are  modern,  the  intention 
seems  originally  to  have  been  the  same.  Had  they  been  intended  to 
ilank  the  portal,  and  give  dignity  to  the  principal  entrance,  their 
motive  would  have  been  clear ;  but  where  no  portal  was  intended,  it 
is  curious  that  the  Germans  should  so  universally  have  used  them, 
while  the  Italians,  whose  portals  were  almost  as  imiversally  on  their 
west  fronts,  should  hardly  ever  have  employed  this  arrangement. 

The  east  end,  as  will  be  obsei"ved,  is  square,  an  arrangement  not 


429. 


Cloister  at  Zurich.     From  Chapuy,  Moycn  Age  Monumental. 


554 


SWISS  Al?CrilTECTUl{E. 


Book  II. 


unusual  in  Switzerland,  thoiigh  nearly  unknown  in  the  Gothic  churches 
of  Itixly  and  Germany.  The  lateral  chapels  have  apses,  especiallj^ 
the  southern  one,  which  I  helieve  to  be  either  the  oldest  paii,  of  the 
cathedral,  or  built  at  least  on  the  foundations  of  that  of  Otho  the 
Great. 

The  most  beautiful  and  interesting  parts  of  this  church  ai'o  the 
northern  doorway  and  the  cloisters,  both  of  nearly  the  same  age,  their 
date  ceilainly  extending  some  way  at  least  into  the  1 2th  centitry. 
As  specimens  of  the  sculpture  of  their  age,  they  are  almost  unrivalled, 
and  strike  even  the  traveller  coming  from  Italy  as  superior  to  any  of 
the  contemporary  sciilpture  of  that  country. 

The  cloister  is  nearly  square,  from  GO  to  70  ft.  each  way.  Eveiy 
side  is  divided  into  five  bays  by  piers  supporting  bold  semicircular 
arches,  and   these   are  again   subdivided   into   three   smaller  arches 


430. 


Doorway  at  Basle.    From  Cliapuy. 


Chap.  II.  BASLE— ST.  GALL.  555 

• 
supported  by  two  slender  pillars.     The  arrangement  will  bo  inider- 

stood  by  the  woodcut  (No.  429).  This  cloister  is  not  superior  in 
design  to  many  in  France  and  elscAvhere  of  the  same  age.  Its  beauty 
consists  in  the  details  of  the  capitals  and  string-courses,  which  are  all 
different,  most  of  them  with  figures  singularly  well  executed,  but 
many  merely  with  conventional  foliage,  not  unlike  the  honeysuckle 
of  the  Greeks,  and  not  unworthy  of  the  comparison  as  fir  as  the  mere 
design  is  conceraed,  though  the  execution  is  rude.  The  same  is  true 
of  the  sculptures  of  the  portal ;  though  they  display  even  less  classical 
feeling,  they  show  an  exuberance  of  fancy  and  a  boldness  of  handling 
which  we  miss  entirely  in  the  succeeding  ages,  when  the  art  yielded 
to  make  way  for  mere  architectural  mouldings,  as  if  the  two  could  not 
exist  together.  The  example  of  Greece  forbids  us  to  believe  that  such 
is  necessarily  the  case ;  but  in  the  middle  ages  it  certainly  is  found 
that  as  the  one  advanced  nearer  to  perfection,  the  other  declined  in 
almost  an  equal  degree. 

One  of  the  doorways  of  the  Cathedral  of  Easle  (woodcut  No.  430) 
is  in  the  same  style,  and  peihaps  even  more  elegant  than  that  of 
Zurich.  Both  in  the  elegance  of  its  form  and  in  the  appropriateness 
of  its  details  it  is  quite  e(iual  to  anything  to  be  found  in  Italy  of  the 
llth  or  12th  centuries.  Its  one  defect,  as  compared  with  Northern 
examples,  is  the  want  of  richness  in  the  archivolts  that  surmount  the 
doorway.  But,  on  the  other  hand,  nothing  can  exceed  the  elegance  of 
the  shafts  on  either  side,  the  niches  of  the  buttresses,  or  of  the  cornice 
which  surrounds  the  whole  composition. 

In  respect  to  these  details,  Switzerland  and  the  south  of  France 
surpass  even  Italy,  and  are  infinitely  siiperior  to  the  contemporaiy 
examples  of  Northern  Europe,  as  we  shall  have  an  opportunity  of 
judging  hereafter. 

St.  Gall. 

The  annexed  plan,  though  not  a  representation  of  any  actual  Swiss 
building,  is  so  interesting  a  document,  and  so  connected  with  the  his- 
tory of  the  art  in  Germany  at  least,  that  it  is  impossible  to  pass  it 
over  here,  as  it  is  actually  the  only  document  of  its  class  we  possess, 
and  throws  great  light  on  the  architecture  of  its  age.  The  name  of 
its  author  is  not  known,  but  it  seems  quite  certain  that  it  belongs  to 
the  early  part  of  the  9tli  century,  and  was  sent  to  the  Abbot  Gospertus 
while  he  was  engaged  in  rebuilding  the  monastery  of  St.  Gall,  by 
some  one  well  skilled  in  architecture,  though  hardly  by  Eigenhard, 
the  friend  of  Charlemagne,  as  was  supposed  by  Mabillon.  It  must 
not  therefore  be  considered  as  a  plan  of  the  buildings  carried  out,  but 
as  a  project  for  a  perfect  monastery,  sent  to  aid  the  Abbot  in  the  de- 
sign and  an'angement  of  the  abbey  he  governed. 

From  that  time  it  seems  to  have  remained  among  the  archives  of 
the  monastery  till  it  was  discovered  by  Mabillon,  and  ])ublished  by 
him  in  the  2nd  vol.  of  the  Annals  of  the  Benedictine  Order.  The 
plan  itself  is  on  two  sheets  of  parchment,  and  so  large  (3^  by  4:^  ft.) 


556 


SWISS  AHCHITECTURE. 


Book  U. 


ei 


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mi  n  rm 


IB 


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UJU(J  IJUJ 
rmD  rm 


-m\^  iJWYV,  i-rm_ 


"•^AJL/^   KaaA/^  f-VM-T"^ 


im 


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Ui^iAjt^ 


a 

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D     I     D 

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TS-anWr 


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rm4TUlu^.-nT4Tl-.J 


1^1  A  f[^ 


■131. 


Keduction  of  an  original  plan  of  a  Monastery  found  at  St.  Gall. 


Chap.  II.  ST.  GALL.  567 

that  t)nly  a  small  portion  of  it  can  be  produced  liere,  and  that  on  a 
rednced  scale. 

The  whole  ,i!;rou])  of  buildings  was  apparently  meant  to  occupy  a 
space  of  about  450  ft.  by  300.  On  the  north  side  of  the  church  (a  a) 
was  situated  the  abbot's  lodging  (b),  with  a  covered  way  into  the 
church,  and  an  arcade  on  each  face ;  his  kitchen  and  offices  were 
detached,  and  situated  to  the  eastward.  To  the  westward  of  this  was 
the  public  school  (c),  and  still  farther  in  that  direction  the  hospitium 
o;t-  gniest-house  (d),  with  accommodation  for  the  horses  and  servants  of 
strangers  attiiched  to  it. 

Beyond  the  abbot's  house  to  the  eastward  was  the  dispensary  (e), 
and  beyond  that  again  the  residence  of  the  doctor  (f),  with  his  garden 
for  medical  herbs  and  simples  at  the  extreme  corner  of  the  monastery. 

To  the  eastward  of  the  great  church  was  situated  another  small 
double  apse  church  (g  g),  divided  into  two  by  a  wall  across  the  centre. 

On  either  side  of  this  clnnx'h  was  a  cloister,  surrounded  by  apart- 
ments :  that  on  the  north  was  the  infirmary,  next  to  the  doctor's 
residence,  and  to  it  the  western  portion  of  the  chaiicl  was  attached. 
The  other  was  the  school  and  residence  of  the  novices.  Beyond  these 
was  the  orchard  (h),  which  was  also  the  cemetery  of  the  monks ;  and 
still  farther  to  the  southward  were  situated  the  kitchen-garden,  the 
poultry-yard,  the  granaries,  mills,  bakehouses,  and  other  offices.  These 
last  are  not  shown  in  the  woodcut  for  want  of  space. 

On  the  south  side  of  the  church  was  situated  the  great  cloister  (i). 
On  the  south  side  of  this  was  the  refectory  (j),  with  a  detached  kitchen 
(k),  which  also  opened  into  the  great  wine-cellar  (l)  ;  opposite  to  this 
was  the  dormitory  (m),  with  various  dependent  buildings. 

To  the  westward  of  this  was  another  hospitium  (n),  apparently  for 
an  inferior  class  of  guests ;  and  to  the  southward  and  westward  (o  o) 
were  placed  the  stables  for  horses,  cattle,  sheep,  and  all  the  animals 
required  for  so  large  an  establishment,  and  all  arranged  with  as  much 
skill  and  care  as  could  be  found  in  the  best  modem  fanns. 

The  principal  point  of  interest  is  the  church,  which  was  designed 
to  be  200  ft.  long  from  east  to  west,  and  about  40  ft.  in  width, 
divided  into  three  aisles  by  two  rows  of  columns.  It  has  two  apses ; 
the  principal  one  towards  the  east  has  a  vaulted  crypt,  in  which  is  a 
confessio,  meant  to  contain  the  relics  of  the  patron  saint,  St.  Gall,  In 
front  of  this  is  a  choir,  arranged  very  much  on  the  model  of  that  of 
S.  Clemente  at  Eome,  before  described,'  The  western  apse,  on  the 
same  level  as  the  floor  of  the  church,  was  to  be  dedicated  to  St.  Paul, 
the  eastern  one  to  St.  Peter.  Between  the  two  choirs  is  the  font  (p) 
and  the  altar  of  St.  John  the  Baptist,  and  on  each  side  a  range  of  altars 
dedicated  to  various  saints.  Behind  both  apses  are  open  spaces  or 
paradises  (r  r)  (parvis),  that  to  the  west  surrounded  by  an  open  semi- 
circular porch,  by  which  the  public  were  to  gain  access  to  the  church ; 
and  on  either  side  of  this,  but  detached,  are  two  circular  towers,  each 
with  an  altar  on  its  summit,  one  dedicated  to  the  archangel  Michael,  the 

'  See  p.  484. 


558  SWISS  ARCHITECTURE.  Book  II. 

other  to  Gabriel :  these  were  to  be  reached  by  circular  stairs  or  iii- 
cliueJ  planes.  No  mention  is  made  of  bells,  but  the  text  would  seem 
to  intimate  rather  that  the  towers  Avere  designed  for  watch-towers  or 
observatories.  The  similarity  of  their  position  and  foi-m  to  that  of 
the  Ii'ish  round  towers  is  most  remarkable  ;  but  whether  this  was  in 
compliment  to  the  Irish  saint  to  whom  the  monastery  OAved  its  origin, 
or  whether  we  must  look  to  Eavenna  for  the  type,  are  questions  not 
now  easily  determined.  \\'e  know  far  too  little  yet  of  the  arclueology 
of  the  age  to  speak  with  certainty  on  any  such  questions.  There  can, 
however,  I  think,  be  little  doubt  but  that  the  meaning  and  origin  of 
these  and  of  the  Irish  towers  were  the  same ;  but  whether  it  was  a 
form  exclusively  belonging  to  a  Celtic  or  Irish  race,  or  common  to  all 
chiu'ches  of  that  age,  is  what  we  cannot  now  decide  from  the  imperfect 
data  at  our  command. 

On  either  side  of  the  east  end  of  the  church  is  an  apartment,  where 
the  transept  is  usually  found  :  that  on  the  south  is  the  vestry  (s)  ;  on 
the  north  is  the  library  (t),  and  attached  to  the  church  on  the  same 
side  is  the  schoolmaster's  house  (u),  and  beyond  that  the  porter's  (v). 
All  the  living  apartments  have  stoves  in  the  angles.  But  the  dor- 
mitory vhas  a  most  scientific  arrangement  for  heating :  the  furnace  is  at 
(x),  and  the  smoke  is  conveyed  away  by  a  detached  shaft  at  (y)  ; 
between  these  two  there  must  have  been  an  arrangement  of  flues  under 
the  floor  for  heating  Ijie  sleeping  apartment  of  the  monks. 

Were  it  not  that  the  evidence  is  so  incontrovertible,  we  should  feel 
little  inclined  to  fancy  that  the  monasteries  of  this  dark  age  showed 
such  refinement  and  such  completeness  as  is  here  evidenced ;  for  at 
no  period  of  their  history  can  anything  more  perfect  be  found.  In  the 
church  especially,  the  two  apses,  the  number  of  altars,  the  crypt  and 
its  accompaniments,  the  sacristy,  the  library,  &c.,  many  of  which 
things  have  generally  been  considered  as  the  invention  of  subsequent 
ages,  are  marked  out  distinctly  and  clearly,  as  well  understood  and 
usual  arrangements  of  ecclesiastical  edifices.  This  fact  refutes  at 
once  all  the  argtiments  as  to  the  dates  of  churches  which  have  been 
founded  on  the  supposed  era  of  the  introduction  of  these  accessories. 


CiiAi'.  II  [.  HISTORICAL  NOTICE.  559 


CHAPTER    111. 
GEEMANY. 

CONTENTS. 
Historical  notice  —  Circular  churches  ^  Aix-la-Chapelle  —  Nimeguen  —  Bonn. 


l)upaNG  the  whole  of  the  period  that  elapsed  between  the  retirement  of 
the  Romans  and  the  reign  of  Charlemagne,  Germany  seems  to  have 
heen  in  stich  a  state  of  anarchy  and  confusion,  that  no  great  buildings 
were  or  could  be  imdertaken.  At  all  events,  no  trace  of  any  edifice  of 
this  age  remains,  nor  even  a  tolerably  distinct  tradition  of  any  one 
being  founded  by  the  unsettled  barbarian  tribes  who  occupied  that 
fine  country  when  deprived  of  the  protection  of  the  empu'e  of  Eome. 

This  long  period  of  darkness  was  terminated  by  the  reign  of  Charle- 
magne. He  restored  the  authority  of  the  laws  and  encouraged  the 
arts  of  peace,  and  formded  many  noble  edifices,  which  either  in  whole 
or  in  part  remain  to  the  present  day.  This  gleam  of  tranquil  bright- 
ness, however,  seems  to  have  been  more  owing  to  the  individual 
greatness  of  the  man  than  to  the  ripeness  of  the  people  for  more  civi- 
lised institutions ;  for  again,  on  his  death,  they  relapsed  into  confusion 
and  barbarity.  From  this  state  the  land  partially  emerged  under  tlie 
first  three  Othos,  in  whose  reigns  church  building  seems  to  have  been 
renewed  with  some  energy.  From  the  beginning  of  the  11th  to  the 
end  of  the  12th  century  the  progress  was  great  and  uninterrupted,  and 
the  style  then  in  vogue  was  brought  to  its  greatest  degree  of  perfection. 
But  after  the  first  twenty  years  of  the  13th  century  the  Germans 
began  to  tire  of  their  own  national  style,  and  to  copy  the  then  fashion- 
able P'rench  style.  Before  the  death  of  Frederick  II.,  in  whose  reign 
the  change  commenced,  the  great  Geiinan  Eound  Gothic  style,  before 
it  had  reached  the  full  maturity  of  perfection,  had  given  way  to  the 
French  Pointed  Gothic,  and  perished,  never  to  revive. 

There  is  none  perhaps  of  the  mediaeval  styles  so  complete  within 
itself,  and  so  easily  traced,  as  the  round-arched  German-Gothic. 

We  have  already,  in  a  preceding  chapter,  attempted  to  trace  the 
history  of  one — -perhaps  the  elder  branch  of  it — as  it  existed  in  the 
\allcy  of  the  Po.  It  may  there  have  arisen  with  the  Goths  of  the  0th 
century,  and  was  certainly  practised  by  the  Lombards  before  their 
overthrow  by  Charlemagne,  though,  as  before  pointed  out,  we  have 
hardly  any  authentic  specimen,  except  the  Swiss  examples,  now 
remaining  to  show  what  it  really  was  before  the  beginning  of  the 
1  Ith  century.  It  is  then,  however,  so  complete  and  so  essentially 
different  from  the  Eomanesque,  that  we  can  almost  certainly  discern 


;)t) 


f)(> 


U II  I*:  N I SH  A  KCi  I  IT  VXT  U  R I'^. 


Book  II. 


the  steps  by  wliicli  this  point  was  reached  from  the  internal  evidence 
afforded  l)y  tlie  Liiildiii^'s  themselves. 

Duriii}:;  tlie  lltli  iiud  12th  centuries  the  valley  of  the  Fo  was  vir- 
tually a  part  of  the  great  Gemian  empire,  and  its  style  of  architecture 
was  consequently  similar  to,  if  not  nearly  identical  with,  that  found 
in  the  valley  of  the  llhine.  In  the  13th  century,  as  German  influence 
died  out,  this  style  in  Italy  gave  way,  partly  to  an  impoi-tation  of  the 
French  pointed  style,  but  more  to  a  mixed  style,  partly  French,  partly 
GeiTaan,  and  in  a  still  greater  degree  made  up  of  a  native  indigenous 
element  which  it  is  difficult  to  describe  or  define. 

On  the  banks  of  the  Ehine  the  history  of  the  art  is  very  similar  to 
this,  except  that  it  begins  absolutely  with  Charlemagne,  one  only 
building  having  the  least  title  to  the  character  of  Komanesque — -the 
well-known  porch  of  the  convent  at  Lorsch.     This  is  generally  stated 

to  have  been  built  in 
the  year  774  ;  but  it  is 
so  classical  in  all  its 
details,  so  like  what 
we  can  fancy  the  Ro- 
man style  to  have  be- 
come in  GeiTuany  a 
century  or  two  earlier, 
that  it  seems  rather  the 
lier 
on 
this  spot  before  the  mo- 
narch}' was  founded  by 
rejiin  in  the  year  764. 
At  all  events,  if  this  is 
not  so,  it  will  be  neces- 
sary to  bring  down  the 
date  of  the  celebrated 
cathedral  at  Aix  -  la- 
Chapelle,  as  at  present 
existing,  to  the  time  when  it  is  known  to  have  been  extensively 
repaired  at  least,  by  Otho  III. ;  for  it  shows  no  trace  of  that  classicality 
which  is  so  distinguishing  a  feature  of  the  other,  and  therefore  must 
have  been  later. 

Leaving  this  for  the  present,  we  haA-e  certainly  one  great  circular 
church  built  by  Charlemagne  at  Aix-la-Chapelle,  and  another  at  Kime- 
guen.  There  is  a  third  very  similar  at  Ottmarsheim  in  Alsace,  though 
a  century  at  least  more  modern.  Otho  the  Great  built  himself  a 
cii'cular  tomb-house  at  Magdeburg,  within  whose  walls  he  and  the 
English  Edith,  his  wife,  were  buried.  Another  circular  church  of  the 
same  age  was  built  at  Fulda,  and  one  still  exists  in  ruins  on  the  Peters- 
berg  near  Halle.  Indeed,  both  from  analogy  and  from  historical 
evidence,  we  seem  justified  in  assuming  that  almost  all  the  churches  of 
this  date  Avere  circular. 

The  oldest  buildings  of  the  basilican  foiin  are  said  to  have  been  the 


'\  ii\A/V\/\A/V^    f^-    I'emains  of  some  earl 
Pf  \\  F'F   l^  ]\^n^  n  buildings  that  stood 


432. 


Porch  of  Convent  at  Lorsch. 


Chap.  II r.         CHARACTERISTICS  OF  GERMAN  STYLE.  561 

cathedrals  of  Cologne  and  Fulda,  but  the  evidence,  at  least  for  the 
former,  is  very  indistinct  and  imperfect.  At  the  end,  however,  of  the 
10th  and  beginning  of  the  11th  centnries  several  large  and  important 
chnrches  of  this  class  were  erected  in  various  parts  of  Germany,  such 
as  that  at  Gernrode  (960),  Hildesheim  (1001),  Limhurg  on  the  Haardt 
(1035).  The  reconstruction  of  the  cathedral  at  Treves  was  tuider- 
taken,  and  that  of  several  important  churches  in  Cologne,  and  from 
this  period  we  advance  steadily  through  a  complete  series  of  edifices,  to 
which  the  cathedrals  of  Mayence,  ^^'orms,  and  Spires  belong,  through 
the  Avhole  of  the  12th  and  the  first  quarter  of  the  loth  centuries, 
without  any  trace  of  a  change  in  style.  The  old  circular  cathe- 
dral at  Magdeburg  was  burnt  down  in  1208.  Shortly  afterwards  its 
rebuilding  was  commenced  in  a  clumsy  transitional  p(jinted  style. 
The  church  of  the  Holy  Virgin  at  Treves  is  said  to  have  been  com- 
menced as  early  as  1227,  though  it  seems  to  have  been  but  slightly 
advanced  in  1243.  The  first  complete  specimen  of  the  pointed  style 
whose  date  is  well  ascertained  is  the  church  at  Marburg,  commenced 
in  the  year  1235,  and  finished  in  1283. 

These  buildings  will  all  be  more  particularly  mentioned  in  the 
sequel.  In  the  meanwhile,  however,  it  is  essential  to  define  the  age 
and  locality  of  this  style,  which  at  the  jDcriod  of  its  greatest  develop- 
ment, in  the  12th  century,  extended  through  eight  degrees  of  latitude, 
fiom  the  sources  of  the  Po  to  the  mouths  of  the  Khine,  with  singularly 
little  variation  in  local  difference  of  form.  It  is  true,  indeed,  that 
there  is  a  greater  degree  of  perfection  in  the  sculpture  and  of  elegance 
in  the  details  of  the  Italian  examples  ;  but  there  is  a  grandeur  in  the 
conception  and  the  scale  of  the  Ehenish  edifices  that  throws  into  the 
shade  the  smaller  buildings  in  the  valley  of  the  To. 

In  Germany  the  duration  of  the  style  somewhat  exceeds  two  cen- 
turies and  a  half,  from  the  time  of  the  great  Otho  to  that  of  Frederic  II. 
During  the  whole  of  that  time  the  Germans  laboured  assiduously  in 
perfecting  their  national  architecture,  and  with  very  considerable  success 
as  we  shall  presently  see.  In  the  13th  century  the  same  thing  hap- 
pened as  afterwards  occurred  in  the  17th,  when  Germany  abandoned 
her  own  literature  and  almost  her  own  language  to  adopt  a  slavish 
imitation  of  the  French  school  of  the  day,  in  which  she  peisevered  till 
the  troubles  of  the  last  hundred  years  roused  her  from  her  lethargy  to 
vindicate  her  slumbering  nationality.  So  in  the  13th  century  she 
abandoned  her  own  national  round-arched  Gothic  to  adopt  the  French 
pointed  style,  and  persevered,  without  either  understanding  it  or  being 
able  to  naturalise  it,  till  the  Kefoimation  awakened  her  to  a  sense  of 
her  own  importance  and  her  proper  mission  in  the  intellectual  world. 

By  a  strange  perversion  of  historical  evidence,  the  Germans  have 
attempted  of  late  years  to  appropriate  to  themselves  the  credit  of  the 
invention  of  the  pointed  style,  calling  it  in  consequence  German  archi- 
tecture. The  fiict  is  that  the  pointed  style  was  not  only  invented  but 
perfected  in  France  long  before  the  Germans  thought  of  introducing 
it  ;  and  when  they  adopted  it,  they  did  so  without  imderstanding  it, 
and  fell  far  short  of  the  peifection  to  which  it  was  carried  by  the 

2  0 


562  KHENISH  ARCHITECTURE.  Book  II. 

Freiicli  in  all  their  edifices  in  the  age  of  its  greatest  development  in 
that  country. 

On  the  other  hand,  the  Germans  may  fairly  lay  claim  to  the  inven- 
tion of  the  particular  style  which  prevailed  throughout  Lombardy  and 
Germany  of  which  wo  are  now  speaking.  This  style,  it  is  true,  never 
was  fully  developed,  and  never  reached  that  perfection  of  finish  and 
completeness  which  the  pointed  style  attained.  Notwithstanding  this, 
I  feel  convinced  that  it  contained  nobler  elements  than  the  other,  and 
was  capable  of  far  more  successful  cultivation.  Had  its  simpler  form 
and  grander  dimensions  been  elaborated  with  the  same  care  and  taste, 
Europe  would  have  possessed  a  higher  style  of  mediseval  architecture 
than  she  ever  saw.  The  task,  however,  was  abandoned  before  it  was 
half  completed,  and  it  is  only  too  probable  now  that  it  can  never  be 
resumed, 

A  complete  history  of  this  style,  worthy  of  its  importance,  is  still 
a  desideratum  which  it  is  to  be  hoped  the  zeal  and  industry  of  German 
architects  will  ere  long  supply,  and  vindicate  their  national  art  from 
the  neglect  it  now  lies  under,  by  illustrating  as  it  desei-ves  one  of 
the  most  interesting  chapters  in  the  history  of  architecture.'  Already 
German  writers  seem  to  be  aware  that  the  age  of  the  Hohenstaufens 
was  not  only  the  most  exclusively  national,  but  also  the  most  brilliant 
period  of  their  history.  Its  annals  have  engaged  the  pens  of  their 
best  historians.  Its  poetry  has  been  rescued  from  obscurity  and  com- 
mented upon  with  characteristic  fulness.  Every  phase  of  their  civi- 
lisation has  been  illustrated  fully,  except  one — that  one  being  their 
architecture,  the  noblest  and  the  most  living  record  of  what  they  did 
or  aspired  to,  that  could  be  left  for  their  posterity  to  study.  So  dis- 
tinctly is  it  their  own,  that,  were  it  necessary  to  find  for  it  a  separate 
name,  the  style  of  the  Hohenstaufens  would  be  that  which  most 
correctly  describes  it. 

The  complete  description  t)f  this  style  must  be  left  to  works  in 
which  the  subject  can  be  treated  more  fully  than  is  possible  here. 
All  we  can  hope  to  do  is  to  define  it  so  as  to  separate  it  clearly  from 
other  styles,  and  to  point  out  its  more  important  and  characteristic 
features.  The  first  will  not  be  difScult,  as  it  has  singularly  little 
affinity  with  any  of  the  contemporary  styles  except  the  Burgundian ; 
and  perhaps  even  Burgundy  ought  to  be  considered  a  province  of 
Germany  rather  than  of  France  in  the  age  to  which  we  refer.  At  all 
events,  there  is  sufficient  affinity  between  the  people  to  account  for 
this  similarity.  The  Norman  and  other  styles  of  France  differ  so 
essentially  as  to  be  easily  distinguished  one  from  the  other. 

The  leading  characteristics  of  the  Gennan  style  are  the  double 
apsidal  arrangement  of  plan,  the  multiplication  of  small  circular  or 
octangular  towers,  combined  with  polygonal  domes,  at  the  intersections 


'  The  work  of  F.  Osten  on  the  architecture  history.     Both  these  first-named  works  were 

of  Lombardy,   and  that  of  Geier  and    Gorz  left  incomplete,  the  former  from  the  death  of 

on  the  style  in  the  Rhine  country,  combined  the  author,    the    latter    owing    to    the    late 

■with  the  woi'ks  of  Boisseree,   have   already  troubles  of  the  country, 

furnished  considerable  materials   for  such  a  , 


Chap.  III. 


A!X-LA-CHAPELLE. 


563 


ul  lliu  tr;uisej)t.s  with  tlie  nave,  and  tliu  extended  use  of  galleries  under 
the  eaves  of  the  roofs  both  of  the  apses  and  of  the  straight  sides.  The 
most  ornamental  parts  are  the  doorways  and  the  capitals  of  the  cohimns. 
The  latter  surpass  in  beaut}"  and  in  richness  anything  of  their  kind 
executed  during  the  middle  ages,  and,  though  sometimes  rude  in  execu- 
tion, etpial  in  design  an}'  capitals  ever  invented.  They  only  wanted 
the  experience  and  refinement  of  another  century  of  labour  to  enable 
them  successfully  to  compete  with  any  part  of  the  pointed  architecture 
which  succeeded  them. 

The   intruding  style  excelled  the  old  German  art  only  by  being 
complete  and  perfect  in  itself. 


Aix-la-Chapelle. 

The  Dom  at  Aix-la-Chapelle  must  rank  among  unedited  monu- 
ments, though  it  is,  without  a  single  exception,  the  most  important 
building  of  its  class  in  Europe.  It  is  the  oldest  authentic  example  we 
have  of  its  style.  It  was  biiilt  by  the  greatest  man  of  his  age,  and 
more  emperors  have  been  ci"owned  and  more  impoi-tant  events  hap- 
pened beneath  its  venerable  vaults  than  have  been  witnessed  within 
the  walls  of  any  existing  church  in  Christendom.'  Xotwithstanding 
the  doubts  that  have  been  thrown  lately  on  the  fact,  I  feel  convinced 
that  we  now  possess  the  church  of  Charlemagne  in  all  essential 
respects  as  he  left  it.  The  great  difficulty  in  fix- 
ing its  age  appears  to  arise  from  the  fact  of  most 
of  its  architectural  ornaments  having  been  painted 
or  executed  in  mosaic,  instead  of  being  carved  as 
in  the  porch  at  Lorsch,  and  time  and  Avhitewash 
have  so  obliterated  these,  that  the  remaining  car- 
case— it  is  little  else — seems  ruder  and  clumsier 
than  we  should  expect. 

As  will  be  seen  from  the  annexed  plan,  the 
church  is  externally  a  polygon  of  1(3  sides,  and 
about  105  ft.  in  diameter  ;  internally  8  compound 
piers  support  a  dome  47  ft.  G  in.  in  diameter. 
The  height  is  almost  exactly  equal  to  the  external 
diameter  of  the  building.  Internally  this  height 
is  divided  into  4  stories.  The  two  lower,  running- 
over  the  side  aisles,  are  covered  with  bold  inter- 
secting vaults.  The  third  gallery,  like  the  trifo- 
rium  of  more  modem  churches,  is  ojien  to  the 


roof,  and  above  that  are  8  windows  giving  light 


433.  I'lanofthoClniivhnt  Aix- 
la-Cliiipelle.  Frmii  J.  \'mi 
Nolten.    Scale  lUU  11.  to  1  in. 


to  the  central  dome. 

To  the  west  was  a  bold  tower-like  building, 
flanked,  as  is  usual  in  this  style,  by  two  circular  towers  containing 
staircases.     To  the  east  was  a  semicircular  niche  containing  the  altar, 


'   I  li.ive  myself  examined  this  edifice,  but 
iu  far  too  liurriej  a  manner  to  enable  me  to 


supply  the  deficiency.     I  speak,  therefore,  on 
tlie  subject  witli  dillidence 

2  0  2 


564 


RHENISH  ARCHlTECTUrvE. 


Book  11. 


whiuli  was  removed  in  1353,  -wlieu  the  })re.scnt  choir  was  built  to 
rephico  it. 

As  before  mentioned,  there  is  a  tradition  that  Otho  III.  rebuilt  this 
minster.  It  is  more  probable  that  he  built  for  himself  a  tomb-house 
behind  the  altar  of  that  of  his  illustrious  predecessor,  where  his  bones 
were  laid,  and  where  his  tomb  till  lately  stood  at  the  spot  marked  X 
in  the  centre  of  the  new  choir.  A\'hat  the  architect  did  in  the  14th 
centuiy  was  to  throw  the  two  buildings  into  one,  retaining  the  outline 
of  Otho's  tomb-house,  which  may  still  be  detected  in  the  unusual  fonn 
of  the  plan  of  the  new  building. 

The  tradition  is  that  this  building  is  a.  copy  of  the  church  of  St. 
Vitale  at  Ravenna,  and  on  comparing  its  plan  with  that  represented 
in  woodcut  No.  392,  it  must  be  admitted  that  there  is  a  considerable 
resemblance.  But  there  is  a  bold  originality  in  the  German  edifice, 
and  a  purpose  in  its  design,  that  would  lead  us  rather  to  consider  it  as 
one  of  a  long  series  of  siniilai'  buildings  which  there  is  every  reason 
to  believe  existed  in  Germany  in  that  age.  At  the  same  time  the 
design  of  this  one  was  no  doubt  considerably  influenced  hx  the  know- 
ledge of  the  Italian  examples  of  its  class  which  its  builders  had  ac- 
quired at  Rome  and  Ravenna.  Its  being  designed  by  its  founder  for 
his  tomb  is  quite  sufficient  to  account  for  its  circular  plan — that,  as 
has  been  frequently  remarked,  being  the  form  always  adopted  for  this 
purpose.  It  may  be  considered  to  have  been  also  a  baptistery — the 
coronation  of  kings  in  those  days  being  regarded  as  a  re-baptism  on 
the  entrance  of  the  king  upon  a  new  sj^here  of  life.  It  was  in  fact  a 
ceremonial  church,  as  distinct  in  its  uses  as  in  its  form  from  the 
basilica,  which  in  Italy  usually  accompanied  the  circular  chuich  ;  but 
Avhether  it  did  so  or  not  in  this  instance  can  only  be  ascertained  when 
the  spot  and  its  annals  are  far  more  carefully  examined  than  has 
hitherto  been  the  case. 


m 


f  r 


^■ 


■131. 


CbiiKli  at  MiuiLgiiuii.     Kruiii  Schayes.     No  scak'. 


CnAP.  TTI. 


NTMEGUEN— PETERSP.ERG. 


565 


The  chiircli  at  Nimeguen  is  even  less  known  than  this  one  ;  we 
have  no  tradition  as  to  who  its  biiikler  was,  nor  whose  tomh  it  was 
erected  to  contain.  From  the  half-section,  half-elevation  (woodcnt 
No.  434'),  it  will  be  seen  that  it  is  extremely  similar  to  the  one  jnst 
described,  both  in  phin  and  elevation,  bnt  evidently  of  a  somewhat 
more  modern  date,  having  scarcely  a  trace  of  the  Eomanesqne  style. 
It  wants  too  the  fa^-ade  which  usually  adorned  churches  of  that  age ; 
but  it  seems  so  unaltered  from  its  original  arrangement  that  it  is  well 
worthy  of  more  attention  than  it  has  hitherto  received. 

Of  the  church  of  Otho  the  Great  at  Magdeburg  we  know  nothing 
but  from  a  model  in  stone,  about  12  ft.  in  diameter,  still  existing  in  the 
present  cathedral,  and  containing  sitting  statues  of  Otho  and  Edith, 
who  were  buried  in  the  original  ediiice.  The  model  unfortunately 
was  made  in  the  13th  century,  when  the  original  was  burnt  down  ; 
and  as  the  artists  in  that  day  were  singularly  bad  copyists,  we  cannot 
depend  much  on  the  resemblance.  It  appears,  however,  to  have  been 
a  polygon  of  16  sides  externally,  like  the  two  just  mentioned;  and  if 
I  am  correct  in  supposing,  as  was  generally  the  case,  that  the  choir  of 
the  present  cathedral  is  built  on  the  foundation  of  the  older  church, 
its  dimensions  must  have  been  nearly  similar,  or  only  slightly  inferior 
to  those  of  either  of  the  two  last  mentioned  churches.  The  details  of 
the  model  belong  to  the  age  in  which  it  was  made,  not  that  of  the 
church  it  was  meant  to  represent. 

The  church  at  Ottmarsheim  is  still  unedited  ;  that  at  the  Petersberg, 
shown  in  the  woodcut  No.  435,  is  a  ruin, 
but  interesting  as  showing  either  an  older 
form  of  circular  church  than  those  described 
above,  or  at  all  events  one  more  essentially 
German,  and  less  influenced  by  classical 
and  Eomanesque  forms  than  they  were.  It 
never  was  or  could  have  been  vaulted,  and 
it  possesses  that  singular  flat  tower-like 
frontispiece  which  is  so  characteristic  of 
the  German  style,  but  found  in  no  other 
country,  and  whose  origin  is  still  unknown. 

Though  it  is  anticipating  to  some  extent 
the  order  of  the  dates  of  the  buildings  of 
Germany,  it  may  be  as  well  to  complete 
here  the  subject  of  the  circular  churches 
of  that  country ;  for  after  the  beginning 
of  the  11th  century  they  ceased  to  be  used  except  in  rare  and  isolated 
instances.  At  that  date  all  the  barbarian  tribes  had  been  converted, 
and  the  baptism  of  infants  was  a  far  less  important  ceremony  than 
the  admission  of  adults  to  the  bosom  of  the  Church,  and  one  not 
requiring  a  separate  edifice  for  its  celebration.  At  the  same  tijuo  the 
immense  increase  of  the  ecclesiastical  orders,  and  the  liturgical  forms 


435. 


10       20       30      40      50       CO      70  80ft. 

Church  at  Petersberg.    From 
I'uttrich. 


'  Taken  from  Schayes'  Histoire  dn  I'Architecture  en  Belgiquc,  vol.  ii.  \>.  18,  taken    Ijy 
liim,  I  believe,  from  Lassaultx. 


5G(3 


RHENISH  ARCHITECTURE. 


r>ooK  11. 


tlieu-  e,stal)li.shotl,  rcndei'cd  the  circular  form  of  chnrch  inconvenient 
and  iuapplical)!*'  to  the  wants  (if  tlic  age.  The  basilica,  on  the  other 
hand,  was  eqiially  sacred  with  the  baptistery,  and  soon  came  to  be 
considered  equally  applicable  to  the  entombment  of  emperoi's  and 
other  similar  purposes. 

The  circular  church  called  the  Baptisterj^  at  Bonn,  which  was 


^      .^-ri 


436. 


Baptistery  at  Bonn.     From  Boisseree's  Hieder  Rhein. 


removed  only  a  few  years  ago,  was  one  of  the  most  interesting  speci- 
mens of  this  class  of  moniiments  in  the  age  to  which  it  belongs.  Ko 
record  of  its  erection  has  been  preserved,  but  its  style  is  evidently  of 
the  11th  century.  Excepting  that  the  straight  or  rectangular  part  is 
here  used  as  a  porch,  instead  of  being  inserted  between  the  apse  and 
the  round  church,  to  form  a  choir,  the  building  is  almost  identical 
with  St.  Tomaso  in  Limine  (woodcuts  Nos.  423  and  424)  and  other 
Lombard  churches  of  the  same  age.  Both  externally  and  internally 
it  is  certainl}'  a  pleasing  and  elegant  form  of  church,  though  little 
adapted  either  for  the  accommodation  of  a  large  congregation  or  the 
ceremonies  of  the  mediaival  church. 

There  is  another  small  edifice  called  a  Baptistery  at  Eatisbon,  Tjuilt 
in  the  last  years  of  the  1 2th  century,  which  shows  this  form  passing 
rapidly  away,  and  changing  into  the  rectangular.  It  is  in  reality  a 
square  surrounded  by  3  apses,  and  surmounted  by  an  octagonal  dome. 
As  we  shall  presently  see,  the  same  arrangement  forms  the  principal 
as  well  as  the  most  pleasing  characteristic  of  the  Cologne  churches, 
where  on  a  larger  scale  it  shows  capabilities  which  we  cannot  but 
regret  were  never  carried  to  their  legitimate  termination.  The  jiresent 
is  a  singularly  pleasing  specimen  of  the  class,  though  very  small,  and 
wanting  the  nave,  the  addition  of  which  gives  such  value  to  the  triapsal 
form  at  Cologne,  and  shows  how  gracefully  its  lines  inevitably  group 
together.     On  the  spot  it  is  still  called  the  Baptisteiy  ;  liut  the  correct 


Chap.  ITT. 


rOBERN, 


567 


tradition,  I  believe,  is  that  it  was  built  for  the  tomb-house  of  the  bi«hop 
to  whom  it  owes  its  erection. 

One  moi-o  specimen  will  serve  to  illustrate  nearly  all  the  known 
forms  of  this  class.  It  is  a 
little  chapel  at  Cobern  on 
the  Moselle  (woodcut  Ko. 
437),  hexagonal  in  plan, 
wdth  an  apse,  placed  most 
unsymmetrically  with  refe- 
rence to  the  entrance — so 
at  least  we  should  consider 
it:  but  the  Germans  seem 
always  to  have  been  of  opi- 
nion that  a  side  entrance 
was  preferable  to  one  oppo- 
site the  principal  point  of 
interest.  The  details  of  this 
chapel  are  remarkably  ele- 
gant, and  its  external  form 
is  a  very  favourable  speci- 
men of  the  Geiiuan  style 
just  before  it  was  super- 
seded in  the  beginning  of 
the  13th  century  by  the 
French  pointed  style. 

There  are  besides  these 
a  circular  chapel  of  uncer- 
tain date  at  Altenfurt  near 
Xuremberg,  and  the  inte- 
resting but  little  known 
church  of  St.  Michael  at 
Fulda,  dedicated  in  the 
year  1092,  erected  to  re- 
place an  older  building  whose  crypt  still  remains  beneath.  According 
to  Kugler  it  was  a  sepulchral  church,  erected  in  imitation  of  that  at 
Jerusalem.  There  are  also  many  others  at  Prague  and  in  various 
parts  of  Germany,  but  none  remarkable  either  for  their  historical  or 
for  their  artistic  importance.  This  form  went  out  of  use  before  the 
style  we  are  describing  reached  its  acme  ;  and  it  had  not  therefore  a 
fair  chance  of  receiving  that  elaboration  which  was  necessary  for  tlie 
development  of  its  capabilities. 


437. 


Chapel  at  Cobern  on  the  Moselle. 
No  scale. 


From  Wiebekiug. 


568 


EIIRXTSn  ARCHITECTrRE. 


Book 


CHAPTER    IV. 


BASILICAS. 


CONTENTS. 

Church  at  Genirode  —  Treves  —  Hildesheim  —  Cathedrals  of  Worms  and  Spires 
Churches  at  Cologne  —  Other  churches  and  chapels. 


The  history  of  the  basilican  or  rectangiilar  churches  of  Gemiaiiy 
neither  goes  so  far  hack,  nor  is  it  even  so  clear,  as  that  of  the  round 
chiirches.  The  oldest  known  example,  so  far  as  I  am  aware,  is  the 
old  Dom  at  Eatisbon,  originally  apparently  about  40  ft.  by  20  over  all. 
It  was  surrounded  internally  by  11  niches  and  vaulted,  sho^^dng  the 
peculiar  German  aiTangement  of  having  no  entrance  at  the  west  end, 
biit  a  deep  gallery  occupying  about  one-fourth  of  the  church.  The 
lateral  entrance  Ls  unfortunately  gone,  so  that  there  is  very  little  orna- 
mental arcliitecture  about  the  place  by  which  its  age  could  be  deter- 
mined; and  as  no  record  remains  of  its  foundation,  we  can  only  con- 
jectui-e  that  it  may  belong  to  some  time  slightly  subsequent  to  the 
Carlovingian  era.' 

Boisseree  places  in  this  age  the  original  cathedrals  of  Fulda  and 
Cologne,  both  which  he  assumes  to  have  been  double  apse  basilicas, 
but  it  appears  without  any  satisfectory  data.  There  is  no  doubt  that 
the  cathedral  at  the  latter  place,  bunit  in  1248,  was  a  double  apse 
church ;  but  if  it  was  anything  like  his  restoration 
it  could  not  have  been  erected  earlier  than  the  11th 
or  12th  centuries,  and  must  have  replaced  an  older 
building,  which,  for  anything  we  know,  may  haA-e 
been  circular,  as  probably  as  rectangidar ;  and  such 
appears  also  to  have  been  the  case  at  Fulda,  though 
there  is  even  less  to  go  on  there  than  at  Cologne. 

Leaving  these  somewhat  apocryphal  examples,  we 

must  come  down  to  the  end  of  the  10th  or  bcoinnina: 

of  the  11th  century  for  examples  of  the  class  we  are 

now  speaking  of.     Of  these,  one  of  the  most  perfect 

and  interesting   is  the  church  at  Gernrode,   in  the 

438.   Plan  of  the  Church  Hartz,  founded  A.D.  960,  when  probably  the  eastern 

From  Puttrich.2       P^^"*  (^^t  the  extended  choir)  was  commenced,  and 

the    whole   building   may  be    taken   to   have    been 

built  within  a  century    after   that  date.     From   the    plan   (woodcut 

No.  438),  it  will  be  seen  how  singulaiiy  like  it  is  to  the  design  for  a 


'  At  Aquileja,  at  the  upper  end  of  the 
Adriatic  Gulf,  Popo,  the  archbisho]),  between 
the  years  1019-104'2,  erected  a  building 
almost  identical  with  this  in  every  respect 
between  the  old  basilica  and  the  bai)ti.stery, 
so  as  to  make  a  double  apse  churcli  out  of 


the  old  Romane.'jqiie  arrangement.  The  simi- 
larity of  the  two  buildings  must  probably 
brinij  down  the  date  of  that  at  Katisbon  to 
the  10th  century. 

*  Baukunst  des  Mittelalters  iu  ?achsen. 


CiiAi-.  lY. 


GEriNEODE— COllVEY. 


5fiO 


439.        \  iLW  ot  Webt-eiid  ul  Uniicb  at  Genuode.    i'rom  ruttiitli. 


church  ibnud  in  tlio  monastery  of  St.  Gall/  except  iliat  it  appears 
to  have  been  originally  about  50  ft.,  or  one-fourth  less  in  length. 
The  western  circular  towers,  instead  of  being  detached,  are  now  joined 
to  the  building.  Piers 
too  are  introduced  in- 
ternally, alternating 
with  pillars ;  and  al- 
together the  church 
shows  just  such  an  ad- 
vance on  the  St.  Gall 
plan  as  we  might 
expect  a  century  or 
so  to  produce,  but 
showing  most  satis- 
factorily' what  the  ori- 
ginal form  of  these 
churches  really  was. 

It  possesses  what 
is  rare  in  this  country 
—  a  bold  triforium 
gallery,  and  external- 
ly that  strange  gallery 
connecting  the  two 
towers  which  forms 
so  distinguishing  a 
characteristic  of  Ger- 
man churches.  A  still 
bolder  exami»le  of  this 
gallerj'  remains  in  the 
facade  of  the  once  fa- 
moiTs  abbey  of Corvey, 
on  the  eastern  fron- 
tier of  Westphalia 
(woodcut  No.  440), 
where  we  find  the 
feature  developed  to 
its  fullest  extent,  so 
that  it  must  originally 
have  entirely  hidden 
the  church  placed  be- 
hind it. 

To  return,  how- 
ever, to  Gemrode ;  as 
may  be  seen  fi-cjm  pil- 
lars without  anything 
like  vaulting  shafts 
being  used  to  divide 
the  nave  from  the  aisles,  it  was  originally  intended  to  have  a  flat 


Hf 


440. 


View  of  West-end  ol  Abbey  of  Corvey. 


'  See  p.  556. 


570 


imENISH  AHCHITECTL'KE. 


Book  II. 


wooden  coiling,  as  it  has  at  present.  Indeed,  this  seems  to  have  been 
most  generally  the  case  with  the  German  basilicas  of  this  age ;  their 
architects  did  not  then  feel  themselves  equal  to  vaulting  the  large 
spaces,  or  at  least  when  they  did  so,  used  piers  of  such  enormous 
strength  as  to  show  beyond  a  doubt  for  what  j)urpose  they  were  in- 
tended. It  does  not  appear  that,  strictly  speaking,  either  fonn  was 
earlier  than  the  other;  but  it  certainly  is  the  case  that  in  the  11th 
century  the  flat  ceiling  was  more  generally  used  than  the  other,  though 
by  no  means  exclusively,  nor  can  we  assert  that  a  wooden-roofed 
church  was  of  necessity  eaiiicr  than  one  that  was  vaulted.  Of  this  we 
shall  have  occasion  to  speak  again  hereafter. 

If  the  church  at  Genu-ode  is  a  satisfector}-  specimert  of  a  complete 
German  desigii  earned  out  in  its  integrity,  the  cathedi'al  at  Treves  is 
both  more  interesting  as  well  as  instructive  from  a  very  difterent 
cause,  inasmuch  as  it  is  one  of  those  aggregated  buildings  of  all  ages 
and  styles  which  let  us  into  the  secrets  of  the  art,  and  contain  a  whole 
history-  within  themselves ;  and  as  the  dates  of  the  successive  eras  can 
be  ascertained  with  very  tolerable  accuracy,  it  may  be  as  well  to  de- 
scribe it  next  in  the  series,  to  exjilain  how  and  where  the  various 
changes  took  place. 


441. 


Plan  uf  original  Chm-ch  at  Treves.    Scale  100  ft.  to  1  in. 


As  is  well  known,  the  orio;inal  cathedi-al  at  Treves  was  built  bv  the 
pious  Helena,  mother  of  Constantine,  and  seems,  like  the  contem- 
porary church  at  Jerusalem,  to  have  consisted  of  two  distinct  edifices, 
one  rectangular,  the  other  circular.  The  original  circular  building- 
was  pulled  down  in  the  13th  century,  as  before  mentioned,  to  make 
way  for  the  present  church  of  St.  Mary,  erected  on  its  site,  and  with, 
1  believe,  the  same  dimensions.  Of  the  other,  or  square  building, 
enough  still  remains  encased  in  the  walls  of  the  present  basilica  to 
enable  us  to  determine  its  size  and  plan  nnth  very  loleiabh;  accuracy. 


Chap.  IV 


TREVES. 


571 


44'^.   Plan  of  Medifeval  Church  at  Treves.    From  Schmidt,  Baudenkmale  von  Triers.    Scale  100  ft.  to  1  in. 


■14:J.  Western  Apse  of  Churcli  at  Irevos.     I' loni  Schniiilt.     Scale  50  ft.  to  1  in. 


572 


KIIENISII  ARCHITECTljliE. 


Hook  IT. 


444.    Eastern  Apse  of  Cburch  at  Trfevcs. 
Scale  50  ft.  to  1  in. 


From  Schmidt. 


Tho  plan  of  it  in  the  woodcut  (No.  441)  is  taken  from  Schmidt's  most 
valuable  work  on  the  Antiquities  of  Treves.  The  ati  inm  and  the  circular 

building  I  have  restored  mj'- 
self,  the  latter  from  a  convic- 
tion that  the  present  edifice 
was  built  nearly  on  the  foun- 
dations of  its  j)redecessor,  as 
well  as  from  examples  quoted 
above,  of  the  same  age.  The 
former  was  an  indispensable 
adjunct  to  both. 

This  Romanesque  church 
seems  to  have  remained  pretty 
much  in  its  original  state  till 
the  beginning  of  the  11th  cen- 
tury, when  the  Ai'chbishop 
Poppo  found  it  so  ruinous 
from  age,  that  it  required  to 
be  almost  entirely  rebuilt. 
He  first  encased  the  pillars 
of  the  Eomans  in  masonry, 
making  them  into  piers.  He 
then  took  in  and  roofed  over  the  atrium,  and  added  an  apse  at  the 
western  end,  thus  converting  it  into  a  German  church  of  the  approved 

model,  so  that  from  this  time  forward  the 
buildings  took  the  form  shown  in  the 
woodcut  No.  442.  No  very  important 
works  seem  to  have  been  undertaken 
from  the  beginning  of  the  11th  till  the 
middle  of  the  1 2th  centiuy ,  when  Bishop 
llillin  is  said  to  have  undertaken  the 
repair  or  rebuilding  of  the  eastern  apse  : 
he  did  not  proceed  beyond  the  founda- 
tion ;  but  the  work  was  taken  up  and 
completed  by  Bishop  John,  who  held 
the  see  from'' 11 90  to  1212.  These  tAvo 
apses,  therefore,  one  at  the  very  begin- 
ning of  the  style,  the  other  as  near  its 
close,  show  cleaiiy  the  progress  which 
had  been  made  in  the  interval. 

The  first  of  these  apses  (woodcut 
No.  443)  is  perhaps  somcAvhat  ruder 
than  we  might  reasonably  expect, 
though  this  may  in  part  be  aecoinited 
for  by  its  remote  pro\dncial  situation. 
The  round  towers  too  are  subordinate 
to  the  square  ones,  in  a  manner  more 
congenial  to  French  than  to  German  ta^e.  Bxit  the  principal  defect 
is  in  the  apsidal  gallery,  which  is  rude  and  tasteless  as  compared  with 


445.     l^laii  lit  t  liiin  li  at  llildc>lu'im.     l-'rum 

Miiller,  continued  liy  Gladbach. 

Scale  100  ft.  to  1  in. 


ClIAI'.   IV. 


iirr.DESHEiM. 


573 


otlier  Hpecimens,  wliic-h  we  are  apparently  justified  in  considering  as 
contemporary.     Before    the   later   or    eastern   apse   was   erected,   the 
gallery  had  aluntst  run  into  the  opposite  extreme  of  minute  littleness, 
and  tiie  polygHjnal  form  and  projecting  buttresses  of  the  pointed  style 
were  beginning  to  supersede  the  simpler  outlines  of  the  parent  style, 
of  which  these  two  specimens  form  as  it  were  the  Alpha  and  the  Omega. 
Between  them  the  examples  and  varieties  are  so  numerous,  that  there 
really  is  an  ''  emfiarras  de  richesse"  in  selecting  those  most  appropriate 
for  illustration.   The  church  at  Hildesheim,  erected  by  Bishop  Bernward 
in  the  first  years  of  the  11th  cen- 
tury, is  among  the  earliest  and  most 
interesting  of  those  remaining  in  suf- 
ficient purity  to  enable  us  to  judge 
correctly  of  their  original  appear- 
ance.   The  plan  (woodcut  Iso.  445) 
is  simple, — first  a  western  transept 
or  facade,  a  nave  little  longer  than 
it  is  broad,  terminated  by  another 
transept  similar  to  the  first,  flanked    i^ 
like   it   by  two   octagonal   towers  ; 
beyond  this  a  short  choir  and  simple 
apse,  with  a  low  aisle  surrounding- 
it,  but  not  communicating  directly 
with  the  church.    The  entrances  are 
as  usual  on  each  side  of  the  nave, 
and  none  at  the  west  end.     Though 
the  proportions  appear  short  with 
reference  to  the  breadth,  consider- 
able additional  effect  is  given  by 
the  screens  that  shut  oif  the  tran- 
sept so  as  not  to  allow  the  perspec- 
tive effect  to  be  broken.    Hence  the 
continuous  view  of  the  central  aisle, 
being  six  times  as  long  as  it  is  broad, 
gives  the  appearance  of  far  greater 
length  to  the  church  than  could  be 
supposed   possible   from   its   lineal 
dimensions.     But  the  great  beauty 
here  is  the  elegance  both  in  propor- 
tion and  detail  of  the  pier  arches, 

which  separate  the  nave  froui  the  aisles ;  the  proportion  of  the  pillars 
is  excellent,  their  capitals  rich  and  beautiful,  and  every  third  pillar 
being  replaced  by  a  pier,  gives  a  variety  and  apparent  stability  which 
is  extremely  pleasing. 

The  church  at  Limburg  on  the  Ilaardt,  erected  by  the  Emperor 
Conrad,  a.d.  1035,  is  a  similar  but  rather  larger  church  than  that  at 
Hildesheim,  possessing  a  peculiarity  somewhat  new  in  Germany,  of  a 
handsome  western  porch  and  entrance,  and  a  chi)ir  with  a  square 
termination,  instead  of  with  an  apse  as  was  usual. 


446. 


Internal  View  of  the  Church  at  Hildesheim, 
From  MoUer. 


574 


KIIKNISII  AKCHlTECTUltE. 


Book  U. 


The  three  great  typical  1)uil(ling.s  of  this  epoch  are  the  Rhenish 
cathedrals  of  I\Ijiyence,  Worms,  and  Spires.  The  first  was  com- 
menced in  the  10th  century,  and  still  possesses  parts  helonging  to  that 
age.  The  present  edifice  at  \\'orms  belongs  principally  to  the  building 
dedicated  there  in  1110.  The  age  of  the  thiid  antl  most  important  of 
these  three  cathedrals  is  still  a  matter  of  controversy,  and  one,  I  fear, 
that  will  not  easily  be  settled ;  for  the  church  has  been  so  frequently 
damaged  b}'  fire  and  war,  and  lately  by  ill-judged  restorations,  that  it 
is  not  easy  to  ascertain  what  is  old  and  what  new.  Still  I  cannot  help 
feeling  convinced  that  the  plan  certainly,  and  a  great  part  at  least  of 
the  present  structure,  belong  to  the  original  building  of  Conrad,  com- 
menced in  1030,  and  which  was  dedicated  by  his  grandson,  Henry  IV., 
31  3"ears  afterwards. 

Except  the  eastern  apse,  which  is  as  usual  flanked  by  2  round 
towers,  the  whole  of  the  exterior  of  Mayence  has  been  so  completely 

rebuilt,   that  little  can   now  be    said   about  it. 
The  plan  presents  nothing  remarkable,  except 
that  it  is  evident,  from  its  solidity  and  an-ange- 
nieut.  that  it  was  meant  from  the  beginning  to 
be  a  vaulted  building ;  and  of  its  details  onlv 
one  doorway  remains  that  can  certainly  be  said 
to  belong  to  the  original  foun- 
dation.'   It  is  remarkable  prin-  - 
cipally  for  the  classicality  of                        =4 
its  details,  which  almost  de- 
serve the  title  of  Romanesque  ; 
and    if    its    age    is    correctly 
ascertained    (the    end    of   the 
10th  centurj-),  it  would  go  far 
to  confirm  the  date  usually  as- 
signed to  the  portal  at  Lorsch, 
namely,  the  late  Carlovingian 
period.* 

At  \Vorms  the  only  part 
now  remaining,  of  the  edi- 
fice dedicated  in  1110,  is  the 
eastern  end.  Tlie  westein  apse 
cannot  be  older  than  the  year  - 
1200,   the    intennediate  parts 


\ 


447.      riaii  ul   Citbedral    of   having   bcCU    erected  between    448.    One  Bay  of  Catlic- 


A\'onns. 
Gurz. 


From  Geier  and 


dral  at  Worms. 
From  Geier  and  Giirz. 


saxie  100 ft.  to  1  in.    these  dates.    The  original  plan 
is  probably  nearly  unchanged, 
and  is  a  fine  specimen  of  its  class.     The  eastern  apse  is  a  curious  com- 
promise between  the  two  modes  of  finishing  that  were  in  use  at  that 


Jloller,  Deutsch  Baukund,  vol.  i.  plate 


*  The  dimensions  of  tliis  building  I  have 
not  been  able  to  ascertain  with  sufficient  cor- 


rectness to  quote.  I  possess  four  plans, 
all  with  great  pretensions  to  accuracy,  and 
with  .scales  attaclied,  but  they  differ  so  widciv 
that  I  do  not  know  which  to  follow. 


ClIAI>.    [V. 


SPIRKS. 


575 


period,  being  square  externally,  and  circular  in  the  interior.  Tlie  best 
detail  of  this  church  is  perhaps  the  pilaster-like  buttresses  of  the  nave 
(woodcut  No.  448),  which  rise  from  elegant  bases  like  those  of  classical 
pillars,  and  finish  pleasingly  with  the  circular  cornice  moulding  so 
usual  at  this  period.  Internally,  the  clustered  piers  and  larger  windows 
o-ive  it  a  lightness  and  completeness  which  is  not  found  in  either  of  its 
great  rivals. 

Although  the  cathedral  of  Spires  cannot  boast  of  the  elegance  and 
finish  of  that  of  Worms,  it  is  per- 
haps, taken  as  a  whole,  the  finest 
specimen  in  Europe  of  a  bold  and 
simple   building   conceived,   if  I 
may  so  express  myself,  in  a  truly 
Doric  spirit.     Its  general  dimen- 
sions are  435  ft.  in  length  by  125 
in   width;    and   taken    with   its 
adjuncts,  it  covers  about  57,000 
square  feet,  so  that  it  is  by  no 
means  one  of  the  largest  cathe- 
drals of  its  class.     It  is  built  so 
solidly,  that  the  supporting  masses 
occupy  nearly  a  fifth  of  the  area. 
Like  the  other  great  building  of 
Conrad's,  the  church  of  Limburg, 
this  one  possesses  what  is  so  rare 
in  Germany,  a  narthex  or  porch, 
and  its  principal  entrance   faces 
the  altar.     Its  great  merit  is  the 
daring  boldness  and  simplicity  of 
its  nave,  which  is  45  ft.  wide  be- 
tween the  piers,  and  105  ft.  high 
to  the  centre  of  the  vault,  dimen- 
sions never  attained  in  England, 
though  some  of   the  French   ca- 
thedrals  equal  or  surpass  them. 
There  is  a  simple  grandeur  about 
the  parts  of  this  building  which 
onves  a  value  to  the  dimensions 
unknown   in  later   times,   and  I 
question   much   if  there    is    any 
mediaeval  church  which  impresses 
the  spectator  more  by  its  appearance  of  size  than  this. 

Externally,  too,  the  body  of  the  church  has  no  ornament  but  its 
small  window  openings,  and  the  gallery  that  runs  round  under  all  its 
roofs.  But  the  bold  square  towers  (certainly  of  the  12th  century)  and 
the  central  dome  group  pleasingly  together,  and,  rising  so  far  above 
the  low  roofs  of  the  half-depopulated  town  at  its  feet,  impress  the 
spectatv)r  with  awe  and  admiration  at  the  boldness  of  the  design  and 
the  grandeur  with  which  it  has  been  carried  out.     Taken  altogether. 


449. 


Plan  of  the  Cathedral  at  Spires.    From  Geicr 
and  Giirz.    Scale  1 00  It.  to  1  in. 


57G 


KHENISII  ARCHITECTURE. 


Book  II. 


ibo.         WeskTii  Apse  of  Cathedral  at  JlayencL'. 


tills  noble  building  proves  that  the  Goi-inan  architects  at  that  time  had 
actually  produced  a  gi-eat  and  original  style,  and  that  they  must  haA-e 
succeeded  in  perfecting  it,  had  they  uut  abandoned  theii'  task  before  it 
was  half  completed. 

The  "western  apse  of  the  cathedral  at  Mayence  is  the  most  modeni 
part  of  these  three  great  cathedrals,  and  perhaps  the  only  example  in 
Germany  where  a  triapsal  arrangement  has  been  attempted  with  polyg- 
onal instead  of  circular  forms. 
In  this  instance,  as  shown  in 
woodcut  Xo.  450,  the  three 
apses,  each  formed  of  three 
sides  of  an  octagon,  are 
combined  together  so  as  to 
form  a  singularly  spacious 
and  elegant  choir,  both  ex- 
ternally and  internally  as 
beautiful  as  anything  of  its 
kind  in  Germany.  Its  style 
is  so  nearly  identical  with 
that  of  the  eastern  apse  of  the 
cathedral  at  Treves  (Avood- 
cut  No.  444),  that  there  can 
be  no  doubt  but  that,  like  it,  it  belongs  to  the  beginning  of  the 
13th  century,  when  more  variety  and  angularity  were  coming  into  use, 
siiggested  no  doubt  by  the  greater  convenience  which  flat  surfaces 
presented  for  inserting  larger  windows  over  the  older  carved  outlines. 
Now  that  painted  glass  had  come  generally  into  use,  large  openings 
had  become  indispensable  for  its  display.  Notmthstanding  this 
advantage,  and  the  great  beauty  of  the  other  forms  often  adopted,  none 
of  them  compensate  for  the  loss  of  the  circular  lines  of  the  older 
buildings. 

As  a  general  rule,  it  may  be  asserted  the  churches  of  Westphalia 
are  singularly  devoid  of  taste  and  good  design.  They  are  extremely 
numerous,  and  many  of  them  sufficiently  large  for  architectural  effect ; 
but  in  the  earlier  or  Eound  Gothic  period  they  betra}"  a  clumsiness 
which  is  very  unpleasing,  and  in  the  age  of  the  Pointed  Gothic  their 
style  is  wire-drawn  and  attenuated  to  a  degree  almost  worse  than  the 
heaviness  of  that  which  preceded  it.  The  fact,  indeed,  is  only  too 
apparent,  that  the  northern  Germans  were  not  an  artistic  people,  for 
neither  in  Westphalia  nor  in  any  of  the  countries  between  it  and  the 
Baltic  do  we  find  any  churches  displaying  that  beauty  of  style  or  con- 
structive approjiriateness  which  characterises  those  of  Cologne  or  the 
cities  to  the  southward  of  that  town. 

A  good  deal  of  the  heaviness  of  the  northern  churches  internally 
may  no  doubt  be  traced  to  the  circumstance  that  the  earlier  examples 
depended  almost  wholly  on  colour  for  their  ornament,  and  the  paint- 
ing having  disappeared,  the  plain  stone  or  plaster  surflices  remain, 
their  flatness  being  made  only  the  more  prominent  by  the  whitewash 
that  now  covers  them.     Notwithstunding  these  defects,  so  many  of 


CllAP.    IV. 


rROGRRSS  OF  Sl'llUvGROWTH. 


o7' 


Church  at  Mind™.  Catliedral  at  Paderbom.  Church  at  Socst. 

461.  From  Mittelalterliche  Kunst  in  Westfalen  von  W.  Liitke. 

these  cLurclies  remain  in  a  nearly  unaltered  state  at  tlie  present  day, 
tliat  mucli  information  might  be  gleaned  from  a  study  of  their  pecu- 
liarities. The  three  examples,  for  instance,  given  in  woodcut  No. 
451,  illustrate  very  completely  the  progress  of  German   spire-growth. 


^ 

igim-r_  _tj---.-Er^Q7Tg 

-:x:::>:- 

r; 

452.         Sta.  Maria  in  Capitulo,  Cologne.    From  Boisseree's  Nieder  Rheki.    Scale  100  It.  to  1  lu. 

2  I' 


578 


RHENISH  ARCHITECTURE. 


Book  II. 


The  first,  that  of  Minden,  is  a  very  early  example  of  the  facade  screen 
so  popular  throughout  Genuany  in  the  middle  ages.  The  centre  ex- 
ample, from  tlio  cathedral  at  raderborn,  belonging  to  the  middle  of 
the  11th  century,  shows  one  of  the  earliest  attempts  at  a  spire-like 
roof  to  a  toAver,  four  gables  being  used  instead  of  the  two  which  were 
generally  employed.  Tlie  third  illustraticm,  from  Soest,  about  a.d. 
1201),  shows  the  transition  complete.  The  four  gables  are  still  there, 
but  do  not  extend  to  the  angles,  nor  are  they  the  principal  roof.  The 
corners  are  ciit  off,  so  as  to  suggest  an  octagon,  and  a  second  roof  has 
grown  up  to  the  form  of  a  spire,  entirely  eclipsing  that  suggested  by 
the  gables.  In  this  instance  also  the  tower  has  become  a  specimen  of 
a  complete  design,  and,  though  the  narthex  or  porch  has  somewhat  the 
appearance  of  being  stuck  on,  the  upper  part  of  the  tower  is  of  con- 
siderable elegance. 

The  same  process  of  spire-growth  can  be  traced  to  some  extent 
both  in  England  and  in  France,  but  on  the  Avhole  it  is  by  no  means 
clear  that  the  spire,  properly  so  called,  is  not  an  invention  from  the 


153. 


Apsc'  of  the  Apostles'  Chiu'ch  at  C'ulogne.     I'luiu  Boissuree. 


Chap.  IV. 


CHURCHES  AT  COLOdNK. 


.579 


banks  of  the  Khiue.  Talluess  of  roof  appears  always  to  have  been  con- 
sidered a  beauty  by  German  architects,  and  it  seems  to  have  been 
applied  to  towers  earlier  in  Germany  than  in  other  countries. 

Far  more  important  than  these,  and  sur})assing  them  infinitely'  in 
beauty,  is  the  group  of  churches  which  adonis  the  city  of  CNdogne,  the 
virtual  capital,  or  at  least 
the  principal  city,  of  Ger- 
many at  the  time  of  their 
erection.  The  old  cathe- 
dral has  perished  and 
made  way  for  the  cele- 
brated structure  that  now 
occupies  its  place.  If  it 
was  like  the  restoration  of 
it  by  Boisseree,  it  resem- 
bled Wonns,  and  must 
have  belonged  to  the  12th 
centuiy  ;  but  there  are  no 
sufficient  data  for  deter- 
mining this  point. 

Of  the  other  churches, 
that  of  Sta.  Maria  in  Capi- 
tulo   (woodcut  No.  452), 
is  apparently  the  oldest ; 
but  of  the  church  erected 
in  the  10th  century  only 
the  nave  remains,  and  that 
considerably  altered.    The 
three     noble    apses    that 
adorn  the  east  end  belong 
to  the  12th,  or  perhaps  to 
the  13th  century.    In  plan 
these  apses  are  more  spa- 
cious  than    those    of   the 
Apostles'  chui'ch  or  of  that 
of  St.   Martin    (woodcuts 
Nos.  463  and  454),    this 
alone  having  a  broad  aisle 
running  round  each,  which 
gives   great  breadth   and 
variety  to  the  perspective. 
The  apse  of  the  church  of 
the  Apostles  (erected  a.d. 
1035)  is  far  more  beauti- 
ful exteraally.  This  build- 
ing is  perhaps,  taken  altogether,  the  most  pleasing  example  of  its  class, 
though  it  has  not  the  loftiness  of  the  great  church  of  St.  Martin, 
which  competes  more  directly  with  the  aspiring   tendencies  of  the 
pointed   style.     These    three  churches,  taken  together,  illustrate  suffi- 

2  V  2 


i 


mwim 


454. 


Apse  of  St.  Martin's  Church  at  Cologne. 
Scale  50  ft.  to  1  in. 


I'l'oni  lioissrri'L'. 


oSU 


KUENJSll  AUt'lllTECTUllE. 


Book  1 1. 


cicntly  the  nature  and  capabilities  of  the  style  which  we  are  describing. 
Tito  an-angeniont  ■^^^th  three  apses  possesses  the  architectural  propriety 
of  teriaiuating  nobly  tlie  interior  to  which  it  is  a})plied.  As  the 
Avorshipper  advances  up  the  nave,  the  three  apses  open  gradually  Ti])on 
him.  and  form  a  noble  and  appropriate  climax  without  the  effect  being 
destrt)yed  by  something  less  magnificent  beyond.  But  their  most 
pleasing  effect  is  external,  Avhere  the  three  simple  ciicular  lines  com- 
bine gracefully  together,  and  form  an  elegant  basement  for  the  central 
dome  or  tower.  Compared  with  the  confused  buttresses  and  pin- 
nacles of  the  apses  of  the  French  pointed  churches,  it  must  cer- 
tainly be  admitted  that  the  German  designs  are  far  nobler,  as  possessing 
more  architectural  propriety  and  more  of  the  elements  of  true  and 
simple  beauty.  They  are  small,  it  is  true,  and  consequently  it  is  not 
fair  to  compare  them  with  such  imposing  edifices  as  the  great  and 
overpoweringly-magnificent  cathedral  of  the  same  to-wn  ;  but  among 
buildings  on  their  o\ati  scale  they  stand  as  yet  unrivalled.  As  they 
now  are,  perhaps  their  greatest  defect  is  that  the  apses  are  not  suffi- 
ciently supported  by  the  naves.  Generally  these  are  of  a  different  age 
and  less  ornate  style,  so  that  the  complete  effect  of  a  well-balanced 
composition  is  wanting ;  but  this  does  not  suffice  to  overpower  the 
great  beauties  they  undoubtedl}^  possess. 

As  is  the  case  with  almost  all  media3val  buildings,  the  greater 
number  of  churches  of  this  age  have  been  erected  at  different  periods 
of  time,  and  the  designs  altered  as  the  work  proceeded,  to  suit  the 

taste  of  the  day.  This  circumstance  makes  them 
particularly  interesting  to  the  architectural  his- 
torian, though  the  artist  and  architect  must 
always  regret  the  incompleteness  and  want  of 
harmony  which  this  produces.  An  exception  to 
this  rule  is  found  in  the  beautiful  abbey  church 
at  Laach,  erected  between  the  years  1093  and 
1156,  therefore  rather  early  in  the  style.  Its 
dimensions  are  small,  only  215  feet  internally  by 
62  ;  but  this  is  compensated  for  by  its  complete- 
ness. It  is  one  of  the  few  churches  that  possess 
still  the  western  paradisus  or  parvis,  as  shown  in 
the  remarkable  ancient  plan  found  at  St.  Gall.' 
The  western  apse  is  applied  to  its  proper  use 
of  a  tomb-house :  besides  this,  it  has  its  two 
central  and  four  lateral  towers,  two  of  the  latter 
being  square,  two  circular.  It  is  impossible  to 
fancy  anything  more  picturesquely  pleasing  than 
this  group  of  towers  of  various  heights  and 
shapes,  or  a  church  producing  a  more  striking- 
effect  with  such  diminutive  dimensions  as  this 
one  possesses,  the  highest  point  being  only  140  ft. 
line.     No  church,  however,  of  the  pointed  Gothic 


\/ 


x 

i  i                  ■  i 

\  H 

e:^ --i&^--«ns^ 

\.- 

r\....'T 

vl 

\^ 

k^ 

A 

1 

A 

i      /X.,  ■ 

A 

n 

^^^^ 

i 

X 

A 

1 

■'v  / 

^.^ 

\  / 

1 

Li 

h- :=* 

iJi 

1 

\\  ,..-^'\  ii 

X 

1 

u 

||/®^\1 

i 

m 

455.  Plan  of  Church  at  Laach. 

From  (ieier  and  Giirz. 

Scale  100  ft.  to  1  in. 


from 


the  ground 


See  p.  556  et  seqq. 


Chap.  IV 


LAACH— ZINSIG. 


581 


style  has  its  sky-line  so  pleasinglj'  broken,  Avliile  the  cornices  and  eaves 
still  retain  all  the  imbroken  simplicity  of  classic  examples,  showing 


■156. 


,  View  of  Church  at  Laach.    From  Geier  and  Gorz, 


<iji-^ 


ier  and  Gorz,  .  —  n| 


how  easily  the  two  forms  might  have  been  combined  by  following  the 
jtath  heie  indicated. 

These  are  perhaps  the  tinest  and  most  typical  buildings  in  this 
style,  and  sufficient  to  characterise  the  form  of  architecture  in  vogue  in 
Germany  in  the  great  Hohenstaufen  period,  and  in  the  century  imme- 
diately preceding  their  accession  to  power ;  but  they  are  not  nearly  all 
the  really  important  buildings  which  during  the  epoch  of  true  German 
greatness  were  erected  in  almost  every  considerable  city  of  the  empire. 
In  Cologne  itself  there  is  the  church  of  St.  Gereon,  the  nave  of  which, 
with  its  crypt,  belongs  to  the  11th  century,  the  apse  to  the  12th,  and 
the  decagonal  domed  part  to  the  13th.  This  is  a  most  interesting 
specimen  of  transition  architecture,  and  as  such  will  be  mentioned 
hereafter.  So  is  the  church  of  St.  Cimibert-,  dedicated  in  1248,  and 
hardly  more  advanced  in  style  than  the  abbey  of  St.  Denis  near  Paris, 
built  at  least  a  century  earlier.  The  churches  of  St.  George  and  of 
Sion  in  the  same  city  afford  interesting  examples  of  the  style.  More 
important,  however,  than  these  are  the  cathedral  at  Bonn,  the  noble 
church  at  Andemach,  the  abbey  church  of  Heisterbach,  and  that  of 
St.  Guerin  in  Keuss.  In  the  same  neighbourhood  the  little  church  of 
Zinsig  is  a  pleasing  specimen  of  the  age  when  the  Germans  had  laid 
aside  the  bold  simplicitj-  of  their  earlier  forms  to  adopt  the  more  ele- 


582 


imENlSlI  ARCHITECTURPL 


Book  II. 


gant  and  H])arkHng  contours  of  pointed  architecture'     A  little  farther 
;i]>  \hv  h'liiiic  the  church  of  St.  Castor  at  Coblentz  agreeably  exemplifies 


457. 


Church  at  Zinsig.     trurn  Buisserue. 


the  later  style  (1157-1208).  Its  apse  is  one  of  the  widest  and  boldest 
of  its  class,  though  deficient  in  height. 

The  neighbourhood  of  Treves  has  also  some  excellent  specimens 
of  round  Gothic,  among  which  may  be  mentioned  the  abbey  of  Echter- 
nach,  the  church  of  St.  Mathias,  and  the  interesting  and  elegant  church 
of  Morzig.'' 

In  Saxony  there  are  many  beautiful,  though  no  very  extensive, 
examples  of  the  GeiTQan  style.    Among  these  the  two  ruined  abbeys 


'  For  particulars  of  more  of  these  churches,  ^  See  Schmidt,  Baudenkmalo  Trier,  where 

see  Boissere'e,  Nieder  Rhein.  all  these  are  figvired. 


Chap.  lA". 


WECHELBUKG-GOLLINGEN. 


)M8 


of  ranlinzolle  and  Thai  Burgal,  neither  of  them  vaulted  ehiirches.  ar. 
remarkable  for  the  simple 
elegance  of  their  forms  and 
details,  showing  how  graceful 
the  style  was  becoming  before 
the  pointed  arch  was  intro- 
duced. The  chnrch  at  We- 
chelbiirg  is  also  interesting, 
thongh  somewhat  gloomy,  and 
retains  a  rood  screen  of  the 
12th  century  (woodcut  Ko. 
458),  which  is  a  rare  and 
pleasing  example  of  its  class. 
The  church  at  Hechlingen 
also  deserves  mention,  and  the 
fragment  of  the  abbey  at 
Gollingen  is  a  pleasing  in- 
stance of  the  pure  Italian 
class    of     design    sometimes 

found  in  Germany  at  this  age. 

Its  ciyiit,  too,  afibrds  an  ex- 
ample  of  vaulting   of   great 

elegance   and   lightness,   ob- 
tained   by    introducing    the 

horse-shoe   arch   or   an  arch 

more   than  half  a   circle    in 

extent,  which   takes  off  the 

appearance  of  great  pressure 

upon  the  capital  of  the  pillar, 

and  gives  the  vault  that  height 

and    lightness    which    were 

afterwards  sought  for  and  ob- 
tained by  the  introduction  of 

the  pointed  arch.     It  is  still 

a  question  whether  this  was 

not  the  more  j^leasing  expe- 
dient of  the  two.    There  was 

one   objection   to  the  use  of 

this    horse-shoe    shape,    that 

considerable   difficulty   arose 

in   using  arches  of  diiferent 

spans  in  the  same  roof,  which 

with  pointed    arches   became 

perfectly  easy. 

Another  example   of    the 

Italian    mode    of    design    is 

found   in  the  church  of  Eo- 

sheim  in  Alsace,   the   facade  of  which   (woodcut  Ko.  460)  might 
well   bo  found  in  Verona  as   on   this  side  of  the  Alps.     Its   inter 


45S<.    Rood  Screen  at  Wechelburg.     From  I'uttrich 


459.  CryiH  at  Gollingen.    From  Puttricb 


as 

ior 


584 


RHENISH  ARCFllTECTUEE. 


Book  II. 


is  of  pleasing  design,  thongli  bolder  and  more  massive  than  the  exterior 
would  Icail  us  (o  expect. 


460. 


Eli9ade  ot  the  Church  at  Itusheim.    From  Chapuy. 


The  facades  of  the  church  of  Marmoutier  in  the  same  province,  and 
of  the  cathedral  of  Giiebwiller,  are  two  examples — very  similar  to  one 
another — of  a  compromise  between  the  purely  German  and  purely 
Italian  styles  of  design.  The  small  openings  in  the  former  look  almost 
like  those  of  a  southern  clime,  but  in  its  present  locality  give  to  the 
church  an  appearance  of  gloom  by  no  means  usual.  Still  it  has  the 
merit  of  vigorous  and  purpose-like  character. 

At  Bamberg  the  church  of  St.  Jacob  is  well  wortiiy  of  attention. 
The  Scotch  church  at  Katisbon  is  one  of  the  best  specimens  in  German}^ 
of  a  simple  basilica  without  transepts  or  towers.  Its  principal  entrance 
is  a  bold  and  elegant  piece  of  design,  covered  with  grotesque  figures 
whose  meaning  it  is  difficult  to  understand.  Had  it  been  placed  at 
the  end  of  the  church,  it  might  have  formed  the  basis  of  a  magnificent 
facade ;  but  stuck  as  it  is  imsymmetrically  on  one  side,  it  loses  half  its 
effect,  and  can  only  be  considered  as  a  detached  piece  of  ornamenta- 
tion, which  is  here,  as  it  generally  is,  fatal  to  its  efiect  as  an  architec- 
tural composition. 

Before  leaving  ecclesiastical  buildings,  it  is  necessary  to  allude  to  a 
class  of  double  churches  and  double  chapels.  Of  these  the  typical 
example  is  the  church  of  Swartz  Eheindorf,'  dedicated  in  the   year 

'  Die  Doppelkirclie  zu  S.R.D.,  by  Andreas  Simons  :  Bonn,  184G. 


CiiAr.  TV. 


MARMOrTIER— LANDSBEPiG. 


685 


1151.     It  is  ill  itself  a  pleasing  specimen  of  the  style,  iiTespcctive  of 
its  peculiarity.      It  is,  however,  simply  a  church  in  two  stories.     At  first 


4G!. 


Church  at  Marmoutier.    Frojn  Chapuy. 


sight  the  lower  one  looks  like  an  extensive  crypt.  This,  however,  does 
not  seem  to  have  been  its  purpose,  but  rather  an  increase  of  accommo- 
dation, to  enable  two  congregations  to  hear  the  same  service  at  the 
same  time,  there  being  always  in  the  centre  of  the  floor  of  the  upper 
church  an  opening  sufficient  for  those  above  to  hear  the  service,  and 
for  some  of  them  at  least  to  see  the  altar  below.  In  castle  chapels, 
where  this  method  is  most  common,  the  upper  story  seems  to  have 
been  occupied  by  the  noblesse,  the  lower  by  their  retainers,  which 
makes  the  arrangement  intelligible  enough. 

In  the  castle  at  Nuremberg  there  is  an  old  double  chapel  of  this 
sort,  but  it  does  not  appear  in  this  instance  that  there  was  an  opening 
between  the  two  :  if  it  existed,  it  has  been  stopped  up.  There  is 
another  at  Egor,  and  two  described  by  Puttrich  in  his  beautiful  work 
on  Saxony  :  one  of  these,  the  chapel  at  Landsberg  near  Halle,  is  given 
in  plan  and  section  in  woodcuts  No.  402  and  No.  4(53  ;  and  though  small. 


586 


RHENTS 1 1  A  I'tCHITECTU  U  R. 


Book  IT. 


being  only  40  ft.  by  28  inlenially,  presents  some  beautiful    combina- 
tions, and  the  details  ave  finished  ^vith  a  degree  of  elegance  not  gene- 


"1       Tr"iH^"'i 


462.        Plan  of  Cbapel  at  Landsberg. 
From  I'uttrieh. 


463.         Section  of  Chapel  at  Landsberg. 
From  Puttrich. 


rally  foimd  in  larger  edifices :  tke  other,  that  at  Freiburg  on  the 
Unstnitt,  measuring  21  ft.  by  28,  is  altogether  the  best  of  the  class,  from 
the  beauty  of  its  capitals  and  the  finish  of  every  part  of  it.  It  belongs  in 
time  to  the  very  end  of  the  12th,  or  rather  perhaps  to  the  13th  century. 
and  from  the  fonn  of  its  vaults  and  the  foliation  of  their  principal  ribs, 
one  is  almost  inclined  to  bring  it  down  to  a  later  peric^d  ;  for  it  would 
be  by  no  means  wonderful  if  in  a  gem  like  this  the  lords  of  the  castle 
should  revert  to  their  old  German  style  instead  of  adopting  foreign 
innovations.  The  windows  are  of  pointed  Gothic,  and  do  not  appear 
like  insertions. 


Chap.  V. 


D0^[KST1C  AltCHITECTUKE. 


587 


CHAPTEli   V. 
DOMESTIC  AECHITECTURE. 

CONTENTS. 
Palaces  of  Wartburg  —  Gelnhausen  —  Hoiises  —  Windows. 


As  miglit  be  expected,  the  remains  of  domestic  architecture  are  few 
and  insignificant  as  compared  with  those  of  the  great  monumental 
churches,  which  in  that  age  were  the  buildings  par  excellence  on  which 
the  wealth,  the  talent,  and  the  energy  of  the  nation  were  so  profusely 
lavished.  Nothing  now  remains  of  the  palaces  which  Charlemagne 
built  at  Ingelheim  or  at  Aix-la-Chapelle,  nor  of  the  residences  of 
many  of  his  successors,  till  we  come  to  the  period  of  the  Hohenstau- 
fens.  Of  their  palaces  at  Gelnhausen  and  the  ^Vartburg  enough  re- 
mains to  tell  us  at  least  in  what  style  and  with  what  degi'ee  of  taste 
they  were  erected,  and  the  remains  of  the  contemporary  castle  of 
Muenzenberg  complete,  as  far  as  we  can  ever  now  expect  it  to  be 
completed,  our  knowledge  of  the  subject. 


464. 


Arcade  of  the  Palace  at  Gelnhausen.     From  Moller. 


S88 


RflENTSTI  AliCHITKCTURE. 


Book  II. 


Besides  these  a  considerable  nnnibcr  (jf  ecclesiastical  cloistered 
edifices  still  rcuiaiii,  and  some  important  dwelling-houses  in  Cologne 
and  elsewhere  ;  Imt  altogether  onr  knowledge  is  somewhat  meagre,  a 
circumstance  that  is  much  to  be  lamented,  as  from  what  we  do  find, 
we  cannot  fail  to  form  a  high  idea  of  the  state  of  the  domestic  arts  of 
building  at  that  period. 

All  that  remains  of  the  once  splendid  palace  of  Barbarossa  at  Geln- 
hausen  is  a  chapel  very  similar  to  those  described  in  the  last  chapter  ; 
it  is  architecturally  a  double  chapel,  except  that  the  lower  story  was 
used  as  the  hall  of  entrance  to  the  palace,  and  not  for  divine  service. 
To  the  left  of  this  were  the  principal  apartments  of  the  palace,  pre- 
senting a  faq'ade  of  about  112  ft.  in  length,  and  probably  half  as  high. 
Along  the  front  ran  a  corridor  about  10  ft.  deep,  a  piecaution  apparently 

necessary  to  keep  out  rain  before  glass 
came  to  be  generally  used.  Behind  this 
there  seem  to  have  been  three  rooms  on 
each  floor,  the  largest,  or  throne-room, 
being  about  50  ft.  square.  The  prin- 
cipal architectural  features  of  what  re- 
mains are  the  open  arcades  of  the  foq-ade, 
one  of  which  is  represented  in  the  last 
woodcut.  For  elegance  of  proportion  and 
beauty  of  detail  they  are  unsurpassed  b}- 
anything  of  the  age,  and  certainly  give  a 
very  high  idea  of  the  degree  of  excellence 
to  which  architecture  and  the  decorative 
arts  had  then  been  carried. 

The  castle  on  the  Wartburg  is  histori- 
cally the  most  important  edifice  of  its  class  in  Germany,  and  its  size 
and  state  of  preservation  render  it  equally  remarkable  in  an  artistic 
point  of  view.  It  was  in  one  of  its  halls  that  the  celebrated  contest 
was  held  between  the  six  most  eminent  poets  of  GeiTQany  in  the  year 
12()G,  which,  though  it  nearly  ended  fatally  to  one  of  them  at  least, 
shows  how  much  importance  was  attached  to  the  profession  of  literature 
at  even  that  early  period.  Here  the  sainted  Elizabeth  of  Ilmigary  lived 
with  her  cruel  brother-in-law ;  here  she  jiractised  those  virtues  and 
endured  those  misfortunes  that  render  her  name  so  dear  and  so  familiar 
to  all  the  races  of  Germany  ;  and  it  was  in  this  castle  that  lAither  found 
shelter  after  leaving  the  Diet  at  AV'orms,  and  where  he  resided  under 
the  name  of  Eitter  George,  till  happier  times  enabled  him  to  resume  his 
labours  abroad. 

The  principal  building  in  the  castle  where  these  events  took  place 
closely  resembles  that  at  Gelnhausen,  except  that  it  is  larger,  being 
130  ft.  in  length  by -50  in  width.  It  is  three  stories  in  height,  without 
counting  the  basement,  which  is  added  to  the  height  at  one  end  by 
the  slope  of  the  ground. 

All  along  the  front  of  every  story  is  an  open  corridor  leading  to 
the  inner  rooms,  the  dimensions  of  which  cannot  now  be  easily  ascer- 
tained, owing  to  the  castle  having  been  always  inhabited,  and  altered 


465 


Capital,  (jcliibausen. 
Deiikmaler. 


From  Moller, 


OllAl'.  V. 


DOMESTIC  ARCHITECTU ]^E. 


589 


in  modem  times  to  suit  the  convenience  and  wants  of  its  recent  occn- 
piers.  In  its  details  it  has  hardly  the  elegance  of  Gelnhausen,  but  its 
general  appearance  is  solid  and  imposing,  the  whole  effect  being  ob- 
tained by  the  grouping  of  the  openings,  in  which  respect  it  resembles 
the  older  palaces  at  Venice  more  than  any  other  buildings  of  the 
class.  It  has  not  perhaps  their  minute  elegance,  but  it  far  sui-passes 
them  in  gTandeur  and  in  all  the  elements  of  true  architectural  magni- 
ficence. Eecently  it  has  been  restored,  apparently  with  considerable 
judgment,  and  it  well  deserves  the  pains  bestowed  ujion  it  as  one  of 
the  best  illustrations  of  its  style  still  existing  in  Europe. 


•IS6. 


View  uf  the  Warlburg.    From  I'uttrich. 


The  castle  on  the  Muenzenberg,  like  those  of  Gelnhausen  and 
^Vartbul•g,  belongs  to  the  1 3th  century,  and,  though  less  important,  is 
hardly  less  elegant  than  either.  It  derives  a  peculiar  species  of  pic- 
turesqueness  from  being  built  principally  of  the  prismatic  basalt  of 
the  neighbourhood,  using  the  crystals  in  their  natural  form,  and  where 
these  were  not  available,  the  stones  have  been  rusticated  with  a  bold- 


■)90 


RHENISH  AlU'U TrECTUKE. 


Book  II 


ness  that  gives  great  value  to  the  more  ornamental  parts,  m  them- 
selves objects  of  considerable  beauty. 

None  of  these  castles  have  much  pretension  to  interest  or  magnifi- 
cence as  foi-tifications,  which  gives  an  idea  of  more  peaceful  times  and 
more  settled  security  than  we  could  quite  expect  in  that  age,  especially 
as  we  find  in  the  period  of  the  pointed  style  so  many  and  sucli  splendid 
fortifications  crowning  every  eminence  along  the  banks  of  the  Ehine, 
and  indeed  in  every  comer  of  the  land.  They  may  have  been  rebuild- 
inscs  of  castles  of  this  date,  but  I  am  not  aware  of  any  having  been 
ascertained  to  be  so. 

There  is  no  want  of  specimens  of  conventual  buildings  and  cloisters 
in  Geimany  of  this  age  ;  but  every  one  is  singularly  deficient  both  in 
design  as  a  whole  and  in  elegance  of  parts.  Not  one,  for  instance,  can 
compare  with  the  beauty  of  Zurich.  The  elegant  arcades  of  the  palaces 
Ave  have  just  been  describing  nowhere  reappear  in  conventual  buildings. 
Why  this  should  be  so  it  is  difficult  to  understand,  but  such  certainly 
is  the  fact. 

The  best  collection  of  examples  of  German  convents  is  found  in 
Boisseree's  '  Nieder  Ehein.'     But  neither  those  of  St.  Gereon  nor  of  the 

Apostles,  nor  St.  Fanta- 
leone  at  Cologne,  merit 
attention    as    works    of 
art,     though     certainly 
curious  as  historical  mo- 
numents ;  and  the  lateral 
galleries   of  Sta.  Maria 
in  Capitulo  are  even  in- 
ferior in  design,  though 
their  resemblance  to  the 
style  of  Eavenna  gives 
them  value  archaiologi- 
cally.  The  same  lemaiks 
apply  to  the  cloisters  at 
Heisterbach,    and   even 
to  the  more  elegant  tran- 
sitional buildings  at  Al- 
tenberg.  Almostall  these 
examples,  nevertheless, 
possess     some     elegant 
capitals  and  some  parts 
worthy   of   study ;    but 
they  are  badl}^  put  toge- 
ther and  badly  used,  so 
that  the  pleasing  effect 
of  a  cloistered  court  and 
conventual  buildings  is 
here  almost  entirely  lost. 
The  cause  of  this  is  hard 
to  explain,  wlicn  wc  see 


167. 


I )\\oUing-liouse,  Cologne.     Kioin  Hoissorec. 


ClIAP.  V. 


DOMESTIC  ARCHITECTURE, 


591 


so  much  beauty  of  design  in  the  buildings  to  which  they  are  geneially 
accompaniments. 

There  are  several  dwelling-houses  in  Cologne  and  elsewhere  which 
show  how  earl}'  German  town  residences  assumed  the  tall  gabled  fronts 
which  they  retained  to  a  very  late  period  through  all  the  changes 
which  took  place  in  the  details  with  which  they  were  carried  out.  In 
the  illustration  (woodcut  No.  467)  there  is  little  ornament,  but  the 
forms  of  the  windows  and  the  general  disposition  of  the  parts  are 
pleasing,  and  the  general  effect  produced  certainly  satisfactory.  The 
size  of  the  lower  windows  is  remarkable  for  the  age,  and  the  details 
are  piire,  and  executed  with  a  degi'ee  of  lightness  which  we  are  far 
from  considering  as  a  general  characteristic  of  so  early  a  style. 

The  windows  at  the  back  of  the  house,  illustrated  in  the  last  wood- 
cut, are  so  large,  that  were  it  not  for  the  immistakeable  character  of 
the  first,  and  of  some 
of  its  details,  we  might 
be  inclined  to  suspect 
that  it  belonged  to  a 
much  more  modern  age. 
As  shown  in  the  wood- 
cut No.  408,  its  details 
are  as  elegant  as  any- 
thing in  domestic  archi- 
tecture of  the  pointed 
style. 

There  are  several  mi- 
nor peculiarities  whicli 
perhaps  it  might  be 
more  regular  to  mention 
here,  but  which  it  will 
be  more  convenient  to 
allude  to  when  we  re- 
turn to  German}^  in 
speaking  of  the  pointed 
style.  One,  however, 
cannot  thus  be  passed 
over — the  form  which  windows  in  churches  and  cloisters  Avere  begin- 
ning to  assume  just  before  the  period  when  the  transition  to  the  pointed 
style  took  place. 

Up  to  that  period  the  Germans  showed  no  tendency  to  adopt  win- 
dow tracery,  in  the  sense  in  which  it  was  afterwards  miderstood,  nor 
to  divide  their  windows  into  compartments  by  mullions.  I  do  not 
even  know  of  an  instance  in  any  church  of  the  windows  being  so 
grouped  together  as  to  suggest  such  an  expedient.  All  their  older 
windows,  on  the  contrary,  are  simple  round-headed  openings,  with  the 
jaml)s  more  or  less  ornamented  by  nook-shafts  and  other  such  expe- 
dients. At  the  end  of  the  12th  and  beginning  of  the  13th  century 
they  seem  to  have  desired  to  render  the  openings  nioio  (iriinmental, 
probably  because  tracery   had  to  a  certain    extent    been    adopted    in 


!4lMI|l»lllllill«iiil_ 

^^">:  .-■;'■ .  .■.->■  .\\.,;,.v'&\",^v 


"^^^^^^w^^^^^w^oTi^^ 


•;.N''^^^v-^^.  ■ 


46S. 


Back  Windows  in  Dwelling-bouse,  Cologne. 


592 


EHENlSll  AlfCUlTEGTUlJE. 


Book  II. 


France  and  the  Netherlands  at  that  period.     They  did  this  first  by 
foiling  circles  and  semicircles,  the  former  a  pleasing,  the  latter  a  veiy 

unpleasing,  form  of  window,  bnt  not  so  bad 
as  the  three-quarter  windows — if  I  may  so  call 
them — used  in  the  church  of  Sion  at  Cologne 
(woodcut  Ko.  469)  and  elsewhere  :  these,  how- 
ever, are  hardly  so  objectionable  as  the  fantastic 
469    Windows  from  Sion  diurch.  giiapes  they  Sometimes  assumed,   as  in  these 

Cologne,    trum  Boisseree.  i  ■'  ' 

examples  (woodcut  No.  470),  taken  from  St. 
Guerin  at  Neuss.  IMany  others  might  be  quoted  whose  foi-ms  are 
constructively  bad  without  being  redeemed  by  an  elegance  of  outline 

that  sometimes  enables 
us  to  overlook  their 
other  faidts.  The  more 
fantastic  of  these,  it 
is  true,  were  seldom 
glazed,  but  mere  open- 
ings in  towers  or  into 
roofs.  These  windows 
are  also  fomid  generally 
in  transition  specimens 
when  men  are  trying  experiments  before  settling  down  to  a  new  course 
of  design.  Not^vithstanding  this,  they  are  veiy  objectionable,  and  are 
the  one  thing  that  shakes  the  confidence  that  might  otherwise  be  felt 
in  the  power  of  the  old  German  style  to  perfect  itself  Avithout  foreign 
aid. 


470.    Windows  from  St.  Gueriu  at  Neuss.     From  Boisseree. 


CuAr.  I. 


FEENCll  AIJCHITECTUEE. 


593 


.    BOOK   111. 


FRANCE. 


CHAPTER    I. 


CONTENTS. 


Division    of   Subject  —  rroveiice — Churches  at  Avigiiou,  Aries.  Alet,  Foutifroide, 
Maguelone,  Vieuno  —  Rouud  churches  —  Towers  —  Cloisters. 


CHRONOLOGY. 


DATES. 

Charlemagne a.d.  768-813 

Rollo,  first  Duk^  otNu;niaiuly  .     ...  9tl 

Hugh  Capet 987 

William   11.  oi    Normandy,   or   the   Con- 


queror        

Henry  1.  of  France 
I'liilip  l.,or  I'Amoureux  . 
I^oiiis  VI.,  or  le  Gros  . 
Louis  VII.,  or  le  Jeune    .     . 
St.  Bernard  of  Clairvaux 
I'hilip  11.,  or  I'Auguste     . 
Louis  VIIL,  or  the  Liou  . 
Louis  iS...  or  the  Saint 


UI55-1086 
1031 
1060 
11  (l« 
1137 

1091-1153 
1180 
1223 
122(i 


Philip  111.,  the  Hardy       , 
Philip  IV.,  or  the  Fan' 
Philip  VI.  of  Valois     .      . 

Battle  of  Cree.y 
.John  IL,  the  Good 
Charles  V.,  the  Wise  .      . 
Charles  VI.,  the  Beloved  . 
Charles  Vll.,  the  Victorious 

Joan  of  Arc 

Louis  XI 

Charles  VllI 

Louis  -XII 

Francis  I 


14 


1)ATI-:S. 

I).  1270 
1285 
1328 
1316 
1350 
1364 
1380 
1422 

12-1431 
14C1 
1483 
1498 
1515 


Ir  is  only  of  late  years  that  the  antiquaries  of  France  have  tuiiied 
their  attention  to  the  mediaeval  monuinents  of  their  conntry.  The 
progress  that  has  been  made  is  worthy  of  that  brilliant  peo})le,  and  of 
the  zeal  and  rapidity  with  which  they  enter  upon  any  new  undertaking. 
Still  the  subject  must  be  considered  as  hitherto  far  from  being  tho- 
roughly and  systematically  known.  French  architecture  presents  a 
field  of  inquiry  of  vast  extent.  This  is  owing  to  the  circumstance  that 
IK)  country  in  Europe  presents  so  many  nationalities  mixed  together  in 
such  inextricable  confusion  as  the  now  uniform  and  united  em})ire  of 
France.  It  is  not  at  the  present  day  easy  to  understand  how  many  races, 
religions,  and  customs  have  been  swept  away  and  levelled  during  the 
eight  centuries  of  wars,  persecutions,  and  despotism  whicli  have  reduced 
her  to  one  religion,  one  language,  and  one  central  government  ramifying 
to  the  remotest  corners  of  the  land  ;  but  till  they  are  known  and  under- 
stood, it  is  in  vain  to  hope  to  appreciate  either  the  history  or  the  forms 
of  the  beautiful  style  of  architecture  that  adorns  every  part  of  the  land. 
At  the  same  time,  it  is  perhaps  only  through  this  aichitecture  that  we 
can  either  understand  or  know  what  these  races  were,  and  what  their 

2  Q 


594 


V\\ KNCli  A JU'll ITECT I ' II K, 


Book  III. 


history  or  locality.  In  no  other  country  is  the  importance  of  the 
mntnal  relations  of  ethnography  and  architecture  so  evident  as  in 
France. 

The  annexed  map,  though  imperfect,  points  out  the  chief  di- 
visions of  the  subject  before  the  progress  of  Frankish  domination 
and  the  crusades  against  the  Waldenses  had  obliterated  some  of  the 
principal   distinctions   of  the    country.'     Its   main  features  must   be 


London 


■^<^-^ 


-^^.      > 


471. 


Map  of  the  Architectural  Division  of  France. 


'  A  small  chart  of  the  same  sort  has  been  than  the  general  features  of  the  chart, 
published  by  M.de  Cnumont,^  which,  though  Imperfect,  however,  as  they  are  in  this  one, 
an  improvement,  still  leaves  much  to  be  they  are  still  more  numerous  and  more  de- 
desired  ;  but  until  every  church  is  examined,  tailed  than  it  will  be  easy  for  us  to  follow 
and  every  typical  specimen  at  least  pub-  and  to  trace  out  in  the  limited  space  of  this 
lishcd,  it  is    impossible  to  mark    out   more  work. 

"  Abecedaire  d' Architecture,  p.  174. 


Cii.M'.  I.  DIVISION  OF  SUBJECT.  595 

[xjiuted  out  luul  boine  iu  miud,  or  the  sequel  will  be  nearly  unin- 
telligible. 

The  iirst  and.  most  obvious  subdivision  of  France  is  that  into  the 
provinces  of  North  and  South,  by  a  line  passing  through  the  valley  of 
tlie  Loire.  To  the  north  of  it,  the  Franks,  Burgundians,  and  Normans — 
all  Geiman  races  or  closelj^  allied  to  them — settled  in  such  numbers 
as  nearly  to  obliterate  the  original  Celtic  and  other  races,  introducing 
their  o^s'n  feudal  customs,  and  a  style  of  architecture  not  only  essen- 
tially Gothic,  but  virtually  the  Gothic  par  excellence. 

To  the  south  of  this  line  the  Teutonic  races  never  settled,  nor  did 
they  gain  the  ascendancy  here  till  after  the  campaig-ns  of  Simon  de 
Montfort,  before  alluded  to,  when  the  sword  and  the  faggot  extin- 
guished the  Protestantism  of  the  races,  and  introduced  a  bastard 
Gothic  style  into  the  land.  Before  that  time  the  Romanesque  style, 
derived  from  the  Romans,  had  gradually  been  undergoing  a  process  of 
change  and  naturalization,  taking  a  form  in  which  we  can  trace  the 
gradually  rising  influence  of  the  Northern  styles.  It  was,  like  the 
German  Round  Gothic,  a  distinct  and  separate  style,  till  superseded 
by  the  all-pervading  Gothic  from  the  north  of  France. 

As  will  be  observed  on  the  map,  the  line  dividing  these  two  pro- 
vinces includes  both  banks  of  the  Loire  as  high  as  Tours,  dividing 
Brittany  into  two  equal  halves.  It  then  follows  the  course  of  the 
Cher  to  the  northern  point  of  Auvergne,  leaving  Bourges  and  Bourbon 
to  the  north ;  thence  by  a  not  very  direct  line  it  passes  east,  till  it 
reaches  the  Rhone  at  Lyons.  It  follows  that  stream  to  the  Lake  of 
Geneva,  and  leaves  the  whole  valley  of  the  iSaone  to  the  Burgundians ; 
thus  dividing  France  into  two  nearly  equal  and  well-defined  ethno- 
graphic and  architectural  provinces. 

As  it  is  necessary  to  distinguish  the  styles  of  these  provinces  by 
names,  I  shoidd  propose  to  call  that  of  the  southern  the  Romance,'  and 
that  of  the  northern  Frankish. 

Turning  first  then  to  the  south,  it  is  necessary  to  subdivide  that 
province  into  at  least  4,  or  perhaps  more  correctly  6  subdivisions. 
The  first  of  these  is  Provence,  and  the  style  the  Provencal,  a  name 
frequently  used  b}'  French  archaeologists,  and  familiar  to  them.  It 
occupies  the  whole  valley  of  the  Rhone  as  far  as  Lyons,  and  along  the 
coast  between  the  hills  and  the  sea  to  the  Pyrenees.  Within  these 
limits  there  is  not,  so  far  as  I  know,  a  single  church  or  building  that 
can  lay  a  fair  claim  to  the  title  of  Gothic.  All  are  Romanesque,  or, 
more  properly,  Romance,  the  earliest  examples  with  a  native  element 
timidly  jjeering  through,  which  afterwards  displaj^s  itself  more  boldly. 
\V'hat  instances  there  are  of  late  Gothic  are  so  bad  and  so  evidently 
inqiortations  as  to  deserve  no  mention. 

The  next  province  may  be  called  the  Aquitanian,  comprising  the 


'  The  use  of  this  term  is  a  little  awkward  and  French,  from  those  of  Teutonic  oriij;in, 
at  first  from  its  liaving  another  meaning  in  and  is  here  used  in  precisely  the  same  sense 
English  ;  it  has,  however,  been  long  used  by  as  applied  to  architecture — to  those  styles 
English  etymologists  to  distinguish  the  derived  from  the  Roman,  but  one  degree 
Romance  languages,  such  as  Italian,  Spanish,      more  removed  from  it  than  the  Ronuuiesque. 

2  (i  2 


590  FRENCH  AllCIllTP^CTUHE.  Book  111. 

whole  of  the  valley  of  the  Garonne  and  its  tributaries— all  that  country 
in  fact  where  the  names  of  towns  end  in  the  Basque  article  ac.  Its 
style  is  not  nearly  so  closely  allied  to  the  lionianesquc  as  that  of  Pro- 
vence ;  and  though  tending  towards  a  Gothic  feeling,  is  always  so 
mixed  with  the  native  element  as  to  prevent  that  style  from  ever  pre- 
vailing, till  forcibly  introduced  by  the  Franks  in  the  12th  and  13th 
centTirics. 

The  third  is  designated  that  of  Anjou,  or  the  Angiovine,  from  its 
most  distinguished  province.  This  includes  the  lower  part  of  the 
Loire,  and  is  bounded  on  the  north-east  by  the  Cher.  Between  it  and 
the  sea  is  a  strip  of  land,  including  the  Angoumois,  Saintonge,  and 
Vendee,  which  it  is  not  easy  to  know  where  to  place.  It  may  belong, 
so  far  as  we  yet  know,  to  either  Aquitania  or  Anjou,  or  possibly  may 
deserve  a  separate  title  altogether ;  but  in  the  map  it  is  annexed  for 
the  present  to  Poitou  or  the  Angiovine  province. 

In  Brittanj^  the  two  styles  meet,  and  are  so  mixed  together  that  it 
is  impossible  to  separate  them.  There  it  is  neither  pure  Komance  nor 
pure  Frankish,  but  a  style  partaking  of  the  peculiarities  of  each  with- 
out belonging  to  either. 

Besides  these,  there  is  the  small  and  secluded  province  of  Au- 
vergne,  having  a  style  peculiarly  its  own,  which,  though  certainly 
belonging  to  the  southern  province,  is  easily  distinguished  from  any 
of  the  neighbouring  styles,  and  is  one  of  the  most  pleasing  to  be  found 
of  an  early  age  in  France. 

Taking  then  a  more  general  view  of  the  Southern  province,  it  will 
be  seen  that  if  a  line  were  drawn  from  Marseilles  to  Brest,  it  would 
pass  nearly  through  the  middle  of  it.  At  the  south-eastern  extremity 
of  such  a  line  we  should  find  a  style  almost  purely  Pomanesque,  pass- 
ing by  slow  and  equal  gradations  into  a  Gothic  style  at  its  other 
extremity. 

On  turning  to  the  Frankish  province  the  case  is  somewhat  different. 
Paris  is  here  the  centre,  from  which  everything  radiates ;  and  though 
the  Norman  invasion,  and  other  troubles  of  those  times,  with  the  re- 
building mania  of  the  13th  century,  have  swept  away  nearly  all  traces 
of  the  early  buildings,  still  it  is  easy  to  see  how  the  Gothic  style  arose 
in  the  Isle  of  France,  and  thence  spread  to  all  the  neighbouring  pro- 
vinces. 

Not  to  multiply  divisions,  we  may  include  in  the  Korthem  province 
many  varieties  that  will  afterwards  be  marked  as  distinct  in  maps  (^f 
French  architecture,  especially  at  the  south-east,  where  the  Nivemois 
and  Bt)urbonnois,  if  not  deserving  of  separate  honours,  at  least  consist 
of  such  a  complete  mixture  of  the  Frankish,  the  Burgundian,  with  the 
Southern  styles,  that  they  cannot  strictly  be  said  to  belong  to  any  one, 
and  yet  partake  of  all.  The  Northern,  however,  is  ceitainly  the  pre- 
dominant element,  and  with  that  therefore  they  should  be  classed. 

Beyond  this  to  the  eastward  lies  the  great  Burgundian  proA'ince, 
having  a  well-denned  and  well-marked  style  of  its  own,  influenced  by 
or  influencing  all  those  around  it,  but  possessing  more  similarity  to 
the  German  styles  than  to  those  of  France,  though  the  Eoman  influ- 


CiiAP.  I.  PllOYENCE.  597 

enco  is  hero  strong  eiioiigli  to  give  it  on  apparent  affinity  with  the 
Provon(;"il.  This  is,  however,  an  affinity  of  form,  and  not  of  spirit ;  for 
no  style  is  much  more  essentially  Gothic  than  that  of  Bu]-gundy. 

To  the  westward  lies  the  architectural  province  of  Normandy,  one 
of  the  most  vigorous  offshoots  of  the  Frankish  style  ;  and  from  the 
power  of  the  Norman  dukes  in  the  11th  and  12th  centuries,  and  the 
accidental  circumstance  of  its  prosperity  in  those  centuries  when  the 
rest  of  France  was  prostrate  from  their  ravages  and  torn  by  internal 
dissensions,  the  Eound  Gothic  stjde  shows  itself  here  with  a  vigour 
and  completeness  not  found  elsewhere.  It  is,  however,  evidently  only 
the  Frankish  style  based  jemotely  on  Roman  tradition,  but  which  the 
Barbarians  used  with  a  freedom  and  boldness  which  soon  converted  it 
into  a  purely  national  Gothic  art.  This  soon  ripened  into  the  com- 
plete Gothic  style  of  the  loth  century,  which  was  so  admired  as  soon 
to  spread  itself  over  the  whole  face  of  Europe,  and  which  became  the 
type  of  all  Gothic  architecture. 

Alsace  is  not  inchxded  in  this  enumeration,  as  it  certainly  belongs 
wliolly  to  Germany.  Lorraine  too  is  more  German  than  French,  and 
if  included  at  all,  must  be  as  an  exceptional  transitional  province. 
French  Flanders  belongs,  in  the  age  of  which  we  are  now  speaking, 
to  the  Belgian  provinces  behind  it,  and  may  therefore  also  be  disre- 
garded at  present ;  but  even  after  rejecting  all  these,  enough  is  still 
left  to  render  it  difficult  to  remember  and  follow  all  the  changes  in 
style  introduced  by  these  different  races,  and  which  marked  not  only 
the  artistic  but  the  political  state  of  France  during  the  middle  ages, 
when  the  six  territorial  peers  of  France,  the  Counts  of  Toulouse,  Flan- 
ders, xiquitania,  Normandy,  Burgundy,  and  Champagne,  represented 
the  six  principal  provinces  of  the  kingdom,  under  their  suzerain,  the 
Count  or  King  of  Paris.  These  very  divisions  might  now  be  taken  to 
represent  the  architectural  distinctions,  were  it  not  that  the  pre-emi- 
nence of  these  great  princes  belongs  to  a  later  epoch  than  the  archi- 
tectural divisions  which  we  have  pointed  out,  and  which  we  must  now 
describe  somewhat  more  at  length. 

Provence. 

There  are  few  chapters  in  the  history  of  mediaeval  architecture 
which  it  would  be  more  desirable  to  have  fully  and  carefully  written 
than  that  of  the  style  of  Provence  from  the  retirement  of  the  Eomans 
to  the  accession  of  the  Franks.  This  country,  from  various  causes, 
retained  more  of  its  former  civilisation  through  the  dark  ages  than 
any  other,  at  least  on  this  side  of  the  Alps.  Such  a  history,  however, 
is  to  be  desired  more  in  an  archaeological  than  in  an  architectural  point 
of  view,  for  the  Provencal  churches,  compared  with  the  true  Gothic, 
though  numerous  and  elegant,  are  small,  and  most  of  them  have 
undergone  such  alterations  as  to  prevent  us  from  judging  correctly  of 
their  original  effect.  Htill  their  importance  to  the  history  of  art  can 
liardly  be  over-estimated,  more  especially  towards  the  determination 
of  the  much-mooted  question  of  the  history  of  the  pointed  arch,  which 
has  hitherto  been  the  great  difficulty  in  the  way  of  the  correct  deter- 


508  FRENCH  ARCHITECTURE.  Rook  III. 

iiuiiiiliou  of  the  ugu  ol"  these  cliurclies.  It  is  a  cuiidus  faet  that  all  the 
ehnrches  of  Provence,  from  the  age  of  (  harlcmagne  to  that  of  St. 
Louis,  were  vaulted,  and  have  their  vaults  constructed  on  the  principle 
of  the  pointed  arch.  Now  it  has  long  been  a  received  dogma  with  the 
antiquaries  of  France  as  well  as  those  of  England,  that  the  pointed 
arch  was  first  introduced  in  the  t  2th  century — the  first  example  being 
assmned  to  be  the  work  of  Abbot  Suger  at  St.  Denis  (1144-1152).  It 
follows  that  all  who  have  written  on  the  subject  of  Provencal  archi- 
tecture have  felt  themselves  forced  to  bring  down  the  age  of  the 
churches  in  question,  or  at  least  of  their  roofs,  below  this  period. 

The  history  of  the  pointed  arch  has  already  been  sketched  above 
( i>.  379  ef  seqq.^,  and  need  not  be  repeated  here.  It  is  now  perfectly  well 
known  that  it  was  currently  used  in  the  East  from  at  least  the  time  of 
Constantine.'  We  need  not  therefore  feel  surprised  that  a  people 
trading  with  the  Levant  from  their  gi-eat  port  of  ]\Iarseilles  should 
have  thence  borrowed  this  feature ;  or  perhaps  we  might  rather  say. 
that  a  people  descended  from  a  colony  of  Pelasgic  Greeks  should 
revive  an  old  and  time-honoured  form  when  they  found  it  particulai'ly 
suited  to  their  constructive  purposes.  So  remarkably  suitable  indeed 
^vas  it  that  we  should  not  wonder  even  if  they  had  actually  invented 
it  ck  novo,  and  it  is  not  without  regret  that  we  perceive  it  abandoned 
or  perverted.  This  use  of  the  pointed  arch  will  be  evident  from  the 
annexed  diagram,  which  is  a  section  of  the  roof  of  one  of  the  churches 
at  Vaison.  The  object  evidently  was  to  la}'  the  roof  or  roofing  tiles 
directly  on  the  vault,  as  the  Romans  had  done  on  their  domes,  and  also. 


4t2.  Oiayrani  of  Vaulting.     South  of  France. 

so  far  as  we  know,  on  their  thermae.  Had  they  used  a  circular  vault 
for  this  pui-jiose,  it  is  evident,  from  the  right-hand  side  of  the  diagram, 
that  to  obtain  the  straight-lined  roof  externally,  and  the  watershed,  it 
would  have  been  requisite  to  load  the  centre  of  the  vault  to  a  most 
dangerous  extent,  as  at  A ;  whereas  with   the  pointed  arch  it  only 


'   For  the  detail  of  the  argument  I  must  other  papers  of  the  time.     See  also  a  paper 

refer  the  reader  to  a  paper  read  by  me  to  the  read  in  the  same  place  in  the  followinp;  montli 

Institute  of  British  Architects  on  June  18th,  (July,  1849),  by  Sir  Gardner  Wilkinson. 
1840,   and  ]iiiblished   in  the  'Builder,'   and 


Chap.  T.  PKOVENCE.  599 

required  the  small  anioiiiit  of  filling  up  shown  at  b,  and  even  that 
might  have  been  avoided  by  a  little  contrivance  if  thought  necessary. 
By  adopting  the  pointed  form  the  weights  are  so  distributed  as  to 
ensure  stability  and  to  render  the  vault  self-su])porting.  It  has  already 
•been  observed  that  the  Gothic  architects  everywhere  treated  these 
vaults  as  mere  false  ceilings,  covering  them  with  a  roof  of  wood — an 
expedient  highly  objectionable  in  itself,  and  the  cause  of  the  destruc- 
tion, by  fire  or  from  neglect,  of  almost  all  the  churches  we  now  find 
in  ruins  all  over  Europe ;  whereas,  had  they  adhered  either  to  the 
Roman  or  Romance  style  of  roofing,  it  would  not  have  lequired  the 
constant  upholding  hand  of  man  to  protect  the  buildings  from  decay. 

The  one  obstacle  in  the  way  of  the  general  adoption  of  this  mode 
of  roofing  was  the  diificidty  of  applying  it  to  intersecting  vaults.  The 
liomans,  it  is  true,  had  conquered  the  difficulty ;  so  had  the  Byzantine 
architects,  as  we  shall  hereafter  see,  displajdng  the  ends  of  the  vaults 
as  ornaments ;  and  even  at  St.  Mark's,  Venice,  this  system  is  adopted, 
and  with  the  additional  advantage  of  the  pointed  roof  might  have  been 
carried  further.  Still  it  must  be  confessed  that  it  was  not  easy — that  it 
required  more  skill  in  construction  and  a  better  class  of  masonry  than 
was  then-  available  to  do  this  efficiently  and  well.  The  consequence 
is,  that  all  the  Eomance  pointed  vaults  are  simple  tunnel- vaults  without 
intersections,  and  that  the  Gothic  architects,  when  they  adopted  the 
turm,  slurred  over  the  difficulty  by  hiding  the  upper  sides  of  their 
vaults  beneath  a  temporary  wooden  roof,  which  protected  them  from 
the  injuries  of  the  weather.  This  certainly  was  one  of  the  gTeatest 
mistakes  they  made  ;  had  they  carefully  profiled  and  ornamented  the 
exterior  of  the  stone  roofs  in  the  same  manner  as  they  ornamented 
Ihe  inside,  their  buildings  would  have  been  not  only  much  moi-e 
lieautiful,  but  much  more  permanent,  and  the  style  would  have  been 
saved  from  the  principal  falsity  that  now  deforms  it.  Even  as  it  is,  if 
we  wished  intelligently  to  adapt  the  Gothic  to  our  purposes,  instead 
of  merel}'  copying  it,  this  is  one  of  the  points  to  which  we  ought  first 
to  turn  our  attention. 

Another  circumstance  which  may  be  alluded  to  here,  when  speak- 
ing on  this  subject,  which  led  to  the  adoption  of  the  jiointed  arch  at 
an  early  age  in  the  southern  provinces  of  France,  was  the  rise  of  domes 
as  a  roofing  expedient.  These,  it  is  true,  are  not  found  in  Provence, 
but  they  are  common  in  Aquitaine  and  Anjou — some  of  them  certainly 
of  the  11th  century;  and  there  can  be  little  doubt  but  that  these  are 
not  the  earliest,  though  their  predecessors  have  perished  or  not  yet 
been  brought  to  light. 

It  has  already  been  explained  (p.  381)  how  difficult  it  is  to  intro- 
duce pendentives  between  two  circular  arches,  and  how  naturally  and 
easily  they  fit  between  two  of  a  pointed  form.  At  St.  Front,  Perigeux, 
at  Moissac,  and  at  Loches  we  find  the  pointed  arch,  introduced  evi- 
dently for  this  purpose,  and  forming  a  class  of  roofs  more  like  those 
of  mosques  in  Cairo  than  any  other  biulding  in  Europe.  It  is  true 
they  now  look  bare  and  formal — their  decorations  having  been  origin- 
ally painted  on  stucco,  which  has  peeled  off;  birt  still  the  variety  of 


600  FRENCH  ARCHITECTURE.  Book  111. 

form  and  perspective  they  aflPurd  intemall3%  and  the  character  and 
tnithfiilness  they  give  to  the  roof  as  seen  from  without,  arc  .snch  ad- 
vantages that  we  cannot  but  regret  that  these  two  expedients  of  stone 
external  roofs  and  domes  were  not  adopted  in  Gothic.  Had  the  great 
architects  of  that  style  in  the  18th  century  carried  out  these  with  theii^ 
characteristic  zeal  and  earnestness,  they  would  have  left  us  a  style  in 
every  respect  infinitely  more  perfect  and  more  beautiful  than  the  one 
that  has  come  down  to  us,  and  Avhich  we  are  copying  so  servilely, 
instead  of  trying,  with  our  knowledge  and  means  of  construction,  to 
repair  the  errors  and  omissions  of  our  forefathers,  and  out  of  the 
inheritance  they  have  left  us  to  work  out  something  more  beautiful 
and  more  worthy  of  our  greater  refinement  and  advanced  civilisation. 

As  enthusiastic  admirers  of  the  architecture  of  the  Greeks,  we 
might  at  least,  we  should  think,  have  taken  a  hint  from  them:  they 
could  not  vault,  and  consequently  were  obliged  to  construct  their  roofs 
with  wood;  but  they  covered  their  temple-roofs  extenially  with  tiles 
of  stone  and  marble,  making  them  to  appearance  as  solid,  and  certainly 
quite  as  ornamental  as  the  walls.  In  this,  as  in  most  things,  their 
practice  was  diametrically  opposed  to  that  of  the  medifeval  architects. 
The  internal  roof  of  the  latter  was  of  stone,  the  outer  one  of  wood  :  the 
Greeks,  on  the  other  hand,  put  the  wood  internally,  the  stone  on  the 
exterior.  The  happy  medium  seems  to  be  that  which  the  Eomance 
architects  aimed  at— a  complete  homogeneous  roof,  made  of  the  most 
durable  materials  and  ornamented,  both  externally  and  internally,  and 
there  can  be  little  doubt  but  that  this  is  the  only  legitimate  and  really 
artistic  mode  of  effecting  this  purjDose,  and  the  one  to  which  attention 
should  now  be  turned.' 

Among  the  Provencal  churches,  one  of  the  most  remarkable  is 
Notre  Dame  de  Doms,  the  cathedi-al  at  Avignon.  Like  all  the  others, 
its  dimensions  are  small  as  compared  with  those  in  the  northern  pro- 
vince, as  it  is  only  200  ft.  in  length,  and  the  nave  about  30  ft.  in  width. 
The  side  aisles  have  been  so  altered  and  rebuilt,  that  it  is  difficult  to 
say  what  their  plan  and  dimensions  were. 

The  most  remarkable  feature  and  the  least  altered  is  the  porch, 
which  is  so  purel}'  Eomanesque  that  it  might  almost  be  said  to  be 
copied  from  such  a  building  as  the  arches  on  the  bridge  of  C'hamas 
(woodcut  No.  276).  It  presents,  however,  all  that  attenuation  of  the 
horizontal  features  which  is  so  characteristic  of  the  Lower  Empire,  and 
cannot  rank  higher  than  the  Carlovingian  era  ;  nor,  indeed,  can  it  be 
brought  lower,  being  too  purely  classical  for  any  of  the  styles  after 
that  date.  The  same  ornaments  are  found  in  the  interior,  and  being 
integral  parts  of  the  ornamentation  of  the  pointed  roof,  have  led  to 
various  theories  to  account  fur  this  copying  of  classical  details  at  a 
later  period.  It  has  been  suflBciently  explained  above,  how  early  the 
pointed  arch  was  introduced  as  a  vaulting  expedient  in  this  quarter ; 


'  The  Scotch  and  Irish  Celts  seem  to  attempts  at  true  stone  roofs  :  the  influence, 
have  had  a  conception  of  this  truth,  and  in  however,  of  the  Gothic  races  ovei  powered 
both    these    countries    we    find    some    bold      them,  and  the  mixed  roof  became  universal. 


Chap.  I. 


PROVENCE. 


601 


and  that  difficulty  being  removed,  wo  may  safely  ascribe  the  whole  of 
the  essential  parts  of  this  church  to  the  age  of  Charlemagne. 


473.     Porcli  of  Noire  Diinie  ile  Doms,  Avignon.    From  Laborde's  Monumens  de  la  France. 


Next  perhaps  in  importance  to  this,  is  the  church  of  St.  Trophime 
at  Aries,  the  nave  of  which,  with  its  pointed  vault,  probably  belongs 
to  the  same  age,  though  its  porch  (woodcut  No.  474),  instead  of  being 
the  earliest  part,  as  in  the  last  instance,  is  here  the  most  modern,  having 
been  erected  in  the  1 1th  century,  when  the  church  to  which  it  is  attached 
acquired  additional  celebrity  by  the  translation  of  the  body  of  St. 
Trojihinie  to  a  final  resting  place  within  its  walls.  As  it  is,  it  forms  a 
curious  and  interesting  pendant  to  the  one  last  quoted,  showing  how 
in  the  course  of  4  centuries  the  style  had  passed  from  debased  Eoman 
to  a  purely  native  form,  still  retaining  a  strong  tradition  of  its  origin, 
but  so  nsed  and  so  ornamented,  that  were  we  not  able  to  trace  back  the 
steps  one  by  one,  by  which  the  porch  at  Avignon  led  to  that  of  Aries, 
we  might  almost  be  inclined  to  doubt  the  succession. 

The  porches  at  Aix,  Cnxa,  Coustonges,  Trades,  Valcabre,  Tarascon, 
and  elsewhere  in  this  province,  form  a  series  of  singular  interest,  and 
of  great  beauty  of  detail  mixed  with  all  the  rich  exuberance  of  our  own 
Norman  dooi-ways,  and  follow  one  another  by  such  easy  gradations, 
that  the  relative  age  of  each  may  easily  be  determined. 

The  culminating  example  is  that  at  St.  Gillcs,  near  the  mouths  of 
the  lihonc,  which  is  b}^  far  the  most  elaborate  church  of  its  class,  but 


602 


FRENCH  ARCHITECTURE. 


Book  III. 


474. 


Porch  of  St.  Trophime,  Aries.    From  Chapuy,  Moyen  Age  Moniunental. 


SO  classical  in  many  of  its  details,  that  it  probably  is  somewbat  earlier 
than  tbis  one  at  Aries,  wbicb  it  resembles  in  many  respects,  tboiigb 
far  exceeding  it  in  magnificence.  It  consists  of  three  such  porches 
placed  side  by  side,  and  connected  together  by  colonnades — if  they 
may  be  so  called — and  sculptui-e  of  the  richest  class,  formmg  altogether 
a  frontal  decoration  unsurpassed,  except  in  the  northern  churches  of 
the  13th  centurj'.  Such  porches,  however,  as  those  of  Eheims,  Amiens, 
and  Chartres,  sui-pass  even  these  in  elaborate  richness  and  in  dimen- 
sions, though  it  may  be  questioned  if  they  are  really  more  beautiful  in 
design. 

There  is  another  church  of  the  Carlovingian  era  at  Orange,  and 
one  at  Nismes,  probably  belonging  to  the  9th  century  ;  both  however 
very  much  injured  by  alterations  and  repairs.  In  the  now  deserted 
city  of  Vaison  there  are  two  churches,  so  classical  in  their  style,  that 
we  are  not  surprised  at  M.  Laborde,  and  the  French  antiqiiaries  in 
general,  classing  them  as  remains  of  the  classical  period.  In  any 
other  country  on  this  side  of  the  Alps  such  an  inference  would  be  in- 
evitable ;  but  here  another  code  of  criticism  must  be  applied  to  them. 
The  oldest,  the  chapel  of  St.  Quiaidc,  belongs  probably  to  the  9th  or 
10th  centuT}'.     It  is  small,  but  singularly  elegant  and  classical  in  the 


Chap.  I. 


PKOVENCE. 


603 


style  of  its  architectnie.  Tlie  apse  is  the  most  singular  as  well  as  the 
most  ancient  part  of  the  chinch,  and  is  formed  in  a  manner  of  which 
no  other  example  is  found  anywhere  else,  so  far  as  1  know.  Exter- 
nally it  is  two  sides  of  a  scpiare,  internally  a  semicircle  ;  at  each  angle 
of  the  exterior  and  in  each  face  is  a  pilaster,  fairly  imitated  from  the 
Corinthian  order,  and  supporting  an  entablature  that  might  very  well 
mislead  a  Northern  antiquary  into  the  error  of  supposing  it  was  a 
Pagan  temple. 

'i'he  cathedral,  though  larger,  is  more  Gothic  both  in  plan  and 
detail,  though  not  without  some  classical  features,  and  entirely  free 
from  the  bold  rudeness  of  style  we  are  so  accustomed  to  associate  with 
the  architecture  of  the  11th  century,  to  which  it  belongs.  Its  system 
of  vaulting  has  already  been  explained  (woodcut  No.  472),  but  neither 
(if  these  buildings  have  yet  met  with  the  attention  they,  so  richly 
merit  from  those  who  are  desirous  of  tracing  the  progress  of  art  from 
the  decline  of  the  pure  Eoman  to  the  vise  of  the  true  Gothic  styles. 


•175     Apse  of  Chuich  at  Alet     I  rom  layloi  and  Nodier,  Voyages  dans  I'Ancienne  France. 


Taking  it  altogether,  perhaps  the  most  elegant  specimen  of  the 
style  is  the  ruined — now,  I  fear,  nearly  destroyed — chuich  of  Alet, 
which,  though  belonging  to  the  11th  century,  was  singularly  classical 
in  its  details,  and  wonderfully  elegant  in  every  part  of  its  design.  Of 
this  the  apse,  as  having  undergone  no  subsequent  transformation, 
was  by  far  the  most  interesting,  though  not  the  most  beautiful  por- 


604 


FREXCn  ARCHITECTURE. 


Book  TIT, 


tion.     The  np])or  ])art,  was  adorned  with  dwarf  Corinthian  ])i]asters, 
surmounted   hy    a    cornice    that   would   not   discredit   the   buiklings 

of  Diocletian  at  Spala- 
tro ;  the  lower  part  l\y 
forms  of  more  iMedia^^-al 
character,  but  scarcely 
less  elegance.  In  the 
interior,  the  triumphal 
arch,  as  it  would  be 
called  in  a  Roman  basi- 
lica, is  adorned  by  two 
Corinthian  pillars,  de- 
signed with  the  bold 
freedom  of  the  age, 
though  retaining  the 
classical  forms  in  a  most 
unexpected  degree. 

The  rest  of  the  church 
is  as  elegant  as  these 
parts,  though  far  less 
classical,  the  necessities 
of  vaulting  and  constnic- 
tion  requiring  a  differ- 
ent mode  of  treatment, 
and  the  age  peimitting 
a  departure  from  conven- 
tional forms,  of  which 
in  the  apse  the  architect 
does  not  seem  to  have 
considered  himself  at 
liberty  to  make  use. 
In  strange  contrast  to  this  is  the  bold,  riide,  and  gloomy  church  of 
Carcassonne,  erected  by  men  who  seem  to  have  had  far  more  sympathy 
with  t>he  embattled  towers  that  suiround  it  than  with  the  elegance  of 
cloistered  retirement  which  seems  to  have  presided  OA'er  the  other. 
ThoiTgh  both  of  the  same  age,  nothing  can  well  be  more  different  than 
these  two  churches,  the  one  being  as  Gothic  as  the  other  is  classical. 
But  even  the  church  at  Carcassonne  is  not  devoid  of  classical  le- 
miniscences  in  the  Corinthian  character  of  its  pilasters  and  their 
capitals,  though  these  harmonise  but  ill  with  the  massive  piers  to 
which  they  are  attached,  and  the  gloomy  pointed  vault  supported 
by  them. 

The  church  at  Fontifroide,  near  Narbonne,  shows  the  style  in  its 
completeness,  perhaps  better  than  any  other  example.  There  not  only 
the  roof  is  pointed,  but  all  the  constiiictive  openings  have  assTimed  the 
same  forms.  The  windows  and  dooi^o^ays,  it  is  true,  still  retain  their 
circidar  heads,  and  did  retain  them  as  long  as  the  native  style  flou- 
rished, the  pointed-headed  opening  being  only  introduced  bj*  the 
Franks  under  Simon  de  Montfort. 


•476.    Iiuernal  Angle  of  Apse  at  Alet,    From  Taylor  and  Nodier. 


Chap.  I. 


PUOVENCE. 


605 


477.        Longitudinal  and  Cross  Section  of  Fontifroide  Church.    From  Taylor  and  Nodier. 


The  section  across  the  nave  shows  the  form  of  the  central  vault, 
which  the  other  section  shows  to  be  a  plain  tunnel-vault  unbroken  by 
any  intersection  throughout  the  whole  length  of  the  nave.  The  side 
aisles  are  roofed  with  half  vaults,  forming  abutments  to  the  central 
arches — the  advantage  of  this  construction  being,  as  before  explained, 
that  the  tiles  or  paving-stones  of  the  roof  rest  directly  on  the  vault 
without  the  intervention  of  any  carpentry.  Internally  also  the  build- 
ing displays  an  elegant  simplicity  and  constructive  propriety.  Its 
chief  defect  is  the  darkness  of  the  vault  from  the  absence  of  a 
clerestory,  which,  though  tolerable  in  the  bright  sunshine  of  the 
(South,  could  not  be  bonic  in  the  mure  gloomy  North.  It  was  to 
correct  this,  as  we  shall  afterwards  perceive^  that  in  the  North  the  roof 
of  the  aisles  was  first  raised  to  the  height  of  that  of  the  central  nave, 
light  being  admitted  through  a  gallery.  Next  the  Tipper  roof  of  the  aisles 
was  cut  away,  with  the  exception  of  mere  strips  or  ribs  left  as  flying 
buttresses.  Lastly,  the  central  vault  was  cut  up  by  intersections,  so 
as  to  obtain  space  for  windows  to  the  very  height  of  the  ridge.  It  was 
this  last  expedient  that  necessitated  the  adoption  of  the  pointed- 
headed  window ;  which  might  never  have  been  introduced  but  fur  the 
invention  of  painted  glass,  which,  requiring  larger  openings,  compelled 
the  architects  to  bring  these  windows  close  up  to  the  lines  of  the  con- 
structive vaidting,  and  so  follow  its  forms.  In  the  South,  however, 
painted  glass  never  was,  at  least  in  the  ago  of  which  we  are  now 
speaking,  a  favourite  mode  of  decoration,  and  the  windows  remained 
so  small  as  never  to  approach  or  interfere  in  any  way  with  the  lines  of 
the  vault,  and  they  therefore  retained  their  national  and  more  beau- 
tiful circular-headed  termination.  The  arrangements  for  lighting  are, 
however,  undoubtedly  the  most  defective  part  of  the  arrangements  of 
the  rroveu(;al  churches,  and  have  given  rise  to  its  being  called  a 
"  cavQm-like  Gothic,"'  from  the  gloom  of  their  interiors  as  compared 
w'ifli   thi;  glass  walls   of  their  Northern  rivals.     Still  it  by  no  means 


'  Wood's  Letters  of  an  Architect,  vol.  i.  p.  lOiJ. 


60(j 


FKENCH  AKCill'J'ECTUK] 


1!OOK  111. 


follows  thill  Ihis  wa«  an  inliei-ent  characteristic  of  the  style,  which 
could  not  have  been  remedied  by  further  experience ;  jbnt  it  is  probahle 
that  no  ingenuity  would  over  have  enabled  this  style  to  display  these 
enormous  surfaces  of  })ainted  glass,  whose  introduction  was,  if  not  the 
only,  at  least  the  principal  motive  of  all  those  changes  which  took 
place  in  the  Frankish  provinces. 

It  woidd  bo  tedious  to  attempt  to  descril)e  the  numerous  churches 

of  the  11th  and  12th  centuries 
which  are  found  in  every  con- 
siderable town  in  this  province  : 
some  of  them,  however,  such 
as  Elne,  St.  Guillem  le  Desert, 
St.  Martin  de  Landres,  Vigno- 
goul,  Valmagne,  Lodeve,  &c., 
deserve  particular  attention,  as 
exemplifying  this  style,  not  only 
in  its  earlier  forms,  but  after  it 
had  passed  into  a  pointed  style, 
though  diftering  very  consider- 
ably fi'om  that  of  the  North. 
Among  these  there  is  no  church 
more  interesting  than  the  old 
fortalice-like  church  of  Mague- 
lone,  which,  from  its  exposed 
situation,  open  to  the  attacks  of 
Saracenic  corsairs  as  well  as 
Christian  robbers,  looks  more 
like  a  baronial  castle  than  a 
peaceful  church.  One  of  its 
doorways  shows  a  curious  ad- 
mixture of  classical,  Saracenic,  and  Gothic  taste,  which  only  could  be 
found  here ;  and  as  it  bears  a  date  (11 78),  it  marks  an  epoch  in  the  style 
to  which  it  belongs. 

Had  it  been  completed,  the  church  of  St.  Gilles  would  perhaps  have 
been  the  most  splendid  of  the  province.  Its  portal  has  already  been 
spoken  of,  and  is  certainly  without  a  rival ;  and  the  lower  church, 
which  belongs  to  the  11th  century,  is  worthy  of  its  magnificence.  It 
was,  however,  either  never  finished,  or  was  subsequently  ruined  along 
with  the  iipper  church,  which  was  commenced  in  the  year  1116  by 
Ka;yanond  IV.,  Count  of  St.  Gilles.  This  too  was  probably  never  com- 
pleted, or  if  it  was,  it  was  ruined  in  the  wars  with  the  Huguenots. 
Even  in  its  present  state,  and  though  wanting  the  richness  of  the  ear- 
lier examples,  it  perhaps  surpasses  them  all  in  the  excellence  of  its 
masonry,  and  the  architectural  pi'opriety  of  all  its  parts. 

Besides  these,  there  is  an  important  church  at  Valence  of  the  11th 
century,  which  seems  to  be  an  almost  expiring  effort  of  the  "  cavern-like" 
style.  In  other  respects  it  resembles  the  Northern  styles  so  much  as 
almost  to  remove  it  from  the  Provenc^'al  class.  This  is  even  more  true 
of  the  cathedral  at  Vienne,  which  is  nevertheless  the  largest  and  finest 


i18. 


Doorway  in  Church  at  Maguelone.    From  Rbuou- 
vier,  Monumens  de  Bas  LangueJoc. 


Cii.u'.  I. 


riiOVEXCE. 


007 


of  the  cliurchcs  of  Provence,  but  which  approaches,  both  in  style  and 
locality,  very  closely  to  the  Burgnridian  churches. 

Its  plan  is  extremely  simple,  having  no  transept  and  no  aisle 
trending  round  the  apse,  as  most  of  the 
Northern  churches  have.  It  consists  of 
3  aisles,  the  central  one  35  ft.  wide  be- 
tween the  piers,  the  others  14  ft.  The 
buttresses  ai'e  internal,  as  was  usual  in  the 
(South,  forming  chapels,  and  making  up  the 
whole  interior  width  to  1 1 3  ft.  by  a  length 
internally  of  313,  so  that  it  covers  some- 
where about  3o,00U  ft.  This  is  only  half 
the  dimensions  of  some  of  the  great  North- 
ern cathedrals,  but  the  absence  of  tran- 
septs, and  its  generally  judicious  propor- 
tions, make  this  church  look  much  larger 
than  it  really  is. 

The  west  front  and  the  3  western  bays 
are  of  the  1 6th  century ;  the  next  7  are  of 
an  early  style  of  pointed  architecture,  with 
semi-Eoman  pilasters,  which  will  be  de- 
scribed in  speaking  of  Burgundian  archi- 
tecture, and  which  belong  probably  to  the 
11th  or  beginning  of  the  12th  century. 
The  apse  is  ascribed  to  the  year  952,  but 
there  are  no  drawings  on  which  depend- 
ence can  be  placed  sufficient  to  determine 
the  date. 

Besides  this,  there  is  another  church,  St.  Andre  le  Bas  at  Vienne, 
belonging  to  the  11th  century,  whose  tower  is  one  of  the  most  pleasing 
instances  of  this  kind  of  composition  in  the  province,  and  though 
evidently  a  lineal  descendant  of  the  Roman  and  Italian  campaniles, 
displays  an  amount  of  design  seldom  met  with  beyond  the  Alps. 


479.     Cathedral,  Vienne.    From   Wic- 
beking.    Scale  100  ft.  to  1  in. 


Circular  Churches. 

The  round  shape  seems  never  to  have  been  a  favourite  for  sacred 
buildings  in  Provence,  and  consequently  was  never  worked  into  the 
apses  of  the  churches,  nor  became  an  important  adjunct  to  them.  One 
of  the  few  examples  found  is  a  small  baptistery  attached  to  the  cathe- 
dral at  Aix,  either  very  ancient  or  built  with  ancient  materials,  and 
now  painfully  modernised.  At  Riez  there  is  a  circidar  detached 
baptistery,  usually,  like  the  churches  at  Vaison,  called  a  pagan  temple, 
but  evidently  of  Christian  origin,  though  the  pillars  in  the  interior 
seem  undoubtedly  to  have  been  borrowed  from  some  more  ancient  and 
classical  edifice.  But  the  finest  of  its  class  is  the  church  at  Eieux, 
probably  of  the  11th  century.  Internally  the  vault  is  sup})oi'ted  by 
4  piers  and  3  pillars,  producing  an  irregidarity  far  from  pleasing,  and 
without  any  apparent  motive. 


608 


FRENCH  AliCllJTEe;TU]!E. 


IJOOK  JIT. 


At  Planes  is  another  church  whose  plan  deserves  to  be  quoted,  if 
not  for  ils  merit,  ut  least  for  its  Kingulai'ity  :    it   is  a  triangle  with 

an  apse  attached  to  each  side,  and  sup- 
porting a  circular  paii  terminating  in  a 
])lain  roof.  As  a  constnictive  puzzle  it 
is  curious,  but  it  is  doubtful  how  far  any 
legitimate  use  could  be  made  of  such  a 
capricciu. 

There  is,  so  far  as  I  know,  oidy  one 
triapsal  church,  that  of  St.  Croix  at  Mont 
Majour  near  Aries.  Built  as  a  sepulchral 
chapel,  it  is  a  singularly  gloomy  but  ap- 
propriate erection  ;  but  it  is  too  tall  and 
too  bai'e  to  rank  high  as  a  building  even 
for  such  a  purpose. 
Provence  is  far  from  being  rich  in  towers,  which  never  seem  there 
to  have  been  favourite  forms  of  architectural  display.     That  of  St.  Andre 

le  Bas  at  Vienne  has  already  been 
spoken  of,  but  this  at  Puissalicon 
(woodcut  No.  481)  near  Beziers  is 
even  more  typical  of  the  style,  and 
standing  as  it  now  does   in    solitary 


4SU, 


I 'Ian  of  Cliuixh  at  Planes. 
Taylor  and  Nodier. 


From 


grandeur 


among 


the    iiiins    of    the 


church  once  attached  to  it,  has  a  dig- 
nity seldom  ]iossessed  by  such  monu- 
ments. In  style  it  resembles  the  towers 
of  Italy  more  than  any  found  farther 
North,  but  is  not  without  peculiarities 
that  point  to  a  diiferent  mode  of  elabo- 
lating  this  peculiar  featuie  fiom  any- 
thing found  elsewhere.  As  a  design 
its  principal  defect  seems  to  be  a  want 
of  lightness  in  the  upper  story.  The 
single  circular  opening  there  is  a  mis- 
take in  a  building  gradually  growing 
lighter  towards  its  summit. 

These  towers  were  never,  or  at 
least  very  seldom,  attached  symmetri- 
cally to  the  churches.  When  height 
was  made  an  object,  it  was  more  fre- 
quently attained  by  carrying  up  the 
dome  at  the  intersection  of  the  choir 
with  the  nave.  At  Aries  this  is  done 
by  a  heavy  square  tower,  gradually 
diminishing,  but  still  massive  to  the 

Tower  at  Puissalicon.     Fiom  Renouvicr.  top  ;  but   in   mOSt   instances  the  Square 

becomes  an  octag<m,  and  this  again 
passes  into  a  circle,  which  terminates  the  composition.  One  of  the  best 
specimens  of  this  class  of  domes,  if  they  may  be  so  called,  is  the  church 


481 


Chap.  [. 


PROVENCK. 


609 


of  Criias  (woodcut  No.  482),  where  these  parts  are  pleasingly  subordi- 
nated, and  foriii,  with  the  apses  on  which  they  rest,  a  very  beantiM 
composition.  The  defect  is  the  tiled  roofs  or  offsets  at  the  junction 
of  the  various  stories,  which  give  an  appearance  of  weakness,  as  if  the 
nppcr  parts  could  slide,  like  the  joints  of  a  telescope,  one  into  the  other. 


482. 


Clnirch  at  Cmas.    From  Taylor  and  Nodier. 


This  conld  easily  be  avoided,  and  probably  was  so  in  the  original 
design.  If  this  were  done,  we  have  here  the  principle  of  a  more 
pleasing  crowning  member  at  an  intersection  than  was  afterwards  nsed 
in  pointed  architecture,  and  capable  of  being  applied  to  domes  of  any 
extent. 

Cloisters. 

Nearly  all,  and  certainly  all  the  more  important  churches  of  which 
we  have  been  speaking,  were  collegiate,  and  with  such  the  cloister 
was  as  important  a  part  of  the  establisliment  as  the  church  itself, 
and  frequently  the  more  beautiful  object  of  the  two.  In  our  own 
cold  wet  climate  the  cloisters  lose  much  of  their  appropriateness : 
still  they  always  are  used,  and  always  with  a  pleasing  effect ;  but  in 
the  warm  sunny  South  their  charm  is  increased  tenfold.  The  artists 
seem  to  have  felt  this,  and  to  have  devoted  a  large  share  of  their 
attention  to  those  ol)jccts — creating  in  fact  a  new  styk;  of  architecture 
tor  this  special  purpose. 

With  us  the  arcades  of  a  cloister  are  generally,  it  not.  always,  a 
range  of  unglazed  windows,  presenting  the  same  features  as  those  of 
the  church,  which,  though  beautiful  when  filhid  with  glass,  arc  some- 
what out  of  )il;i<'!^  witliout  that   iiidispcnsablc  adjunct.      In  the  South 

2  R 


61  u 


FRENCH  AHClirrECTUltE. 


Book  III. 


the  cloistei*  is  never  a  window,  or  anything  in  the  least  approaching  to 
it  in  design,  hilt  a  range  of  small  and  elegant  pillars,  sometimes  single, 
sometimes  coupled,  generally  alternately  so,  and  supporting  arches  of 
light  and  elegant  design,  all  the  features  being  of  a  character  suited 
to  the  place  where  they  are  used,  and  to  that  only. 

The  cloister  at  Aries  has  long  occupied  the  attention  of  travellers 
and  artists,  and  perhaps  no  building,  or  part  of  one,  in  this  style  has 
been  so  often  dra^\Ti  or  so  much  admired.  Two  sides  of  it  are  of  the 
same  age  and  in  the  same  style  as  the  porch  (woodcut  No.  474),  and 


483. 


Cloister  at  Fontifroide.    From  Taylor  and  Nodier. 


equally  beautiful.  The  other  two  are  somewhat  later,  the  columns 
supporting  pointed  instead  of  round  arches.  At  Aix  there  is  another, 
similar  to  this,  and  fragments  of  such  colonnades  are  found  in  many 
places.  That  of  Fontifruide  (woodcut  No.  483)  is  one  of  the  most 
complete  and  perfect  after  that  at  Aries,  and  some  of  its  capitals  are 
treated  Avith  a  freedom  and  boldness,  and  at  the  same  time  with  an 
elegance,  not  often  rivalled  anywhere.  They  even  excel — for  the  pur- 
pose at  least — the  German  capitals  of  the  same  age.     Those  at  Eliie 


Chap.  T. 


I'KOYKNCE. 


611 


are  more  cnrioTi.s  than  of  any  other  cloister  in  Franco,  so  far  as  I  know 
— some  of  them  sho\\ang  so  distinct  an  imitation  of  Egyptian  work  as 
instantly  to  strike  any  one  at  all  familiar  with  that  stylo.  Yet  they 
are  treated  Avith  a  lightness  and  freedom  so  wholly  media;val  as  to 
show  that  it  is  possible  to  copy  the  spirit  without  a  servile  adherence 
to  the  form.  Here,  as  in  all  the  examples,  every  capital  is  different — 
the  artists  revelling  in  freedom  from  restraint,  and  sparing  neither 
time  nor  pains.  ^Ve  find  in  these  examples  a  delicacy  of  handling 
and  refinement  of  feeling  far  more  characteristic  of  the  South  than  of 
the  ruder  North,  and  must  admit  that  their  architects  have  in  these 
cloisters  produced  objects  with  which  we  have  nothing  of  the  kind  in 
England  to  compete. 


484. 


4R,5. 


Capitals  at  Cloister,  Elne.    From  Taylor  arnl  Nodicr. 


R   2 


612 


FRENCH  ARCHITECTURE. 


Podic 


CHAPTER    II. 


AQUITANIA. 


COJTTENTS. 


Churches  at  Perigeus,  Souillac,  Angouleme,  Alby,  Toulouse,  Couques,  Toui-s, 

Tombs. 


Thk  moment  you  pass  tlie  liills  forming  the  water-shed  between  the 
rivers  flowing  to  the  Mediterranean  and  those  which  debouch  into  the 

Bay  of  Biscay,  you  become 
aware  of  having  left  the  style 
we  have  just  been  describing, 
to  enter  upon  a  new  architec- 
tural province.  This  province 
possesses  two  distinct  and  se- 
parate styles,  very  unlike  one 
another  both  in  character  and 
detail.  The  first  of  these  is 
a  round-arched  tunnel-vaulted 
Gothic  style,  more  remarkable 
for  the  grandetir  of  its  concep- 
tions than  for  the  success  with 
which  those  conceptions  are 
carried  out,  or  for  beauty  of  de- 
tail. The  second  is  a  pointed 
arched,  dome-roofed  style  pecu- 
liar to  the  province,  and  indi- 
cating the  presence  of  an  East- 
ern people,  who,  if  this  be  the 
case,  can  be  no  other  than  tl^e 
Basques.  They  certainly  for- 
merly did,  and  now  do,  inhabit 
a  portion  at  least  of  the  pro- 
vince, and  have  left  their  arti- 
cle ac  affixed  to  the  names  of 
all  the  towns  of  importance 
where  this  style  is  found  exist- 
ing. Indeed,  on  the  map,  the 
prevalence  of  this  termination 
exactly  marks  the  limits  and 
extent  of  the  style.  Domes  are  found,  no  doubt,  farther  north,  but  of  a 
modified  form.     They  are,  however,  sufficient  to  induce  us  to  include 


486.     Plan  of  St.  Front,  Perigeux.    From  F.  de  Verneilli, 
Architecture  Byzantine  en  Franco.    Scale  1(mi  ft.  to  1  in. 


Chap.  II. 


AQUITANIA. 


613 


for  the  present  in  the  province  of  Aqnitaine  the  doubtful  districts  of  the 
Angouiuois  and  Vendee,  though  it  is  possible  that  they  may  eventually 
tuni  out  to  belong  more  properly  to  Aiijou. 

In  describing  them,  it  may  be  convenient  to  take  the  domical  style 
first,  as  its  history — with  one  or  two  exceptional  examples  in  tlie  neigh- 
bouring provinces — begins  and  ends  here.  It  will,  no  doubt,  be  found 
beyond  the  Pyrenees  as  soon  as  it  is  looked  for  ;  but  in  that  terra  incog- 
nita of  Spain,  fifty  diflfei- 


ent  styles  might  exist 
without  our  so  much  as 
knowing  the  fact  of  their 
being  there. 

The  princijjal  and 
best  preserved  example 
of  the  domical  style  of 
Aquitaine  is  the  church 
of  St.  Front,  Perigeux. 
As  Avill  be  seen  from  the 
woodcut  (No.  480),  its 
plan  is  that  of  a  Greek 
cross,  182  ft.  eacb  way  in- 
ternally, exclusive  of  the 
apse,  which  is  compara- 
tively modern,  and  of  the 
ante-church  and  porch 
extending  1 50  ft.  farther 
west,  which  are  the  re- 
mains of  an  older  church, 
now  very  much  destroy- 
ed, to  which  the  domical 
church  seems  to  have 
]peen  added  in  the  11th 
century. 

Both  in  plan  and  di- 
mensions, it  will  be  ob- 
served that  this  church 
bears  an  extraordinary 
and  striking  resemblance 


487. 


Tart  of  St.  Front,  Perigeux.    From  Venicilh. 


to  that  of  St.  Mark's,  Venice,  illustrated  further  on.  The  latter  church, 
however,  has  the  angles  filled  up  so  as  to  make  it  into  the  more  usual 
Greek  foiTQ  of  a  square,  and  its  front  and  lateral  porches  are  additions, 
of  a  magnificence  to  which  this  church  can  lay  no  claim.  The  five 
cupolas  are  of  nearly  the  same  size,  and  similarly  placed,  in  both 
churches  ;  and  the  general  similarity  of  ai'rangement  ]^)oints  certainly  to 
an  identity  of  origin.  Both  too  seem  to  be  of  about  the  same  age,  as 
there  is  no  reason  to  doubt  the  data  on  which  M.  Felix  de  Verneilh' 
arrives  at  the  conclusion  that  the  church  we  now  see  was  erected  in  the 


Journal  ArcliColngiqiie  de  M.  Didrnn,  vol.  xi.  p.  88  et  seq. 


614 


FRENCH  ARCHITECTURE. 


Book  HI. 


very  beginning  of  the  11th  century.  There  is,  however,  one  striking 
difterence,  that  all  the  constructive  arches  in  St.  Front  are  pointed,  those 
of  St.  Murk's  are  round.  The  form  too  of  the  cupolas  diftcrs  ;  and  in 
St.  Front  the  piers  that  support  the  domes  having  been  found  too  weak 
have  been  cased  to  strengthen  them,  which  gives  them  an  awkward 
appearance  not  found  in  St.  Mark's.  The  difference  that  would  strike 
a  traveller  most  is,  that  St.  Mark's  retains  its  frescos  and  decorations, 
while  St.  Front,  like  almost  all  the  churches  of  its  age,  presents  no- 
thing now  but  naked  bare  walls,  though  there  cannot  be  a  doubt  but 
that  it  was  painted  originally.  This  indeed  was  the  legitimate  and 
appropriate  mode  of  decoration  of  all  the  churches  of  this  age,  till  it 
was  in  .great  measure  superseded  by  the  invention  of  painted  glass. 

The  cupolas  are  at  the  present  day  covered  with  a  wooden  roof; 
but  their  original  appearance  is  tolerably  correctly  represented  in  the 
woodcut  No.  487,  which,  though  not  so  graceful  as  Eastern  domes 
usually  are,  is  still  a  far  more  picturesque  and  permanent  finishing  for 


-IfiS. 


Iiilerior  of  CLurch  at  Souillac.     From  Taylor  and  Nodier. 


Chap.  IT. 


AQUITANIA. 


615 


a  roof  than  the  Avooden  stnictures  of  tlio  more  Nortliern  races.  Its 
jiresent  internal  appearance,  from  the  causes  above  mentioned,  is  sin- 
guh\rly  hare  and  gloomy,  and  no  donl)t  utterly  nnworthy  of  its  pristine 
splendour. 

The  tower  stands  at  the  intersection  between  the  old  and  new 
clmrches,  and  its  lower  part  at  least  is  so  classical  in  its  details, 
that  it  more  probably  belongs  to  the  older  Latin  church  than  to 
the  domical  one.  Its  upper  part  seems  to  have  been  added,  and 
its  foundation  strengthened,  at  the  time  of  the  building  of  the  eastern 

part. 

St.  Front  is  perhaps  the  only  specimen  of  a  perfect  Greek  cross 
church  with  cupolas.  That  of  Souillac  is  a  good  example  of  a  modifi- 
cation of  a  form  nearly  similar,  except  that  the  cupola  forming  the 
eastern  branch  is  here  transferred  to  the  westeni,  making  it  thus  a 
Latin  instead  of  a  Greek  cross,  which  is  certainly  an  improvement,  as 
the  principal  space  and  magnificence  is  thus  concentrated  about  the 
high  altar,  which  is,  or  should  be,  the  culminating  point  of  eifect.  Its 
internal  appearance,  and  that  indeed  of  all  the  churches  of  this  style, 
may  be  judged  of  from  the  view  (woodcut  No.  488),  which  in  reality 
looks  much  more  like  the  interioi-  of  a  mosque  in  Cairo  than  that  of  a 
Christian  church  of  the  middle  ages.  The  building  is  not  large,  being 
only  205  ft.  in  length  internally,  including  the  porch,  and  110  across 
the  transepts.  Its  age  is  not  accurately  known,  anticpiarians  having 
insisted  on  placing  it  in  the  12th  century  on  account  of  its  pointed 
arches,  whereas  my  own  impression  is  that  it  certainly  belongs  to  the 
11th  century. 

The  cathedral  at  Angouleme  (woodcut  No.  -189)  is  another  and 
still  more  extended  example  of  this 
class,  having  three  domes  in  the  nave, 
the  first  with  the  facade  belonging  cer- 
tainh^  to  the  11th,  the  rest  to  the  12th 
century.  The  form  of  these  domes, 
with  the  arrangement  of  the  side  walls, 
will  be  understood  from  the  woodcut  No. 
490.  This  method  may  be  considered  as 
typical  of  all  this  class  of  churches  ;  and 
except  in  the  mode  of  lighting  the  upper 
part,  is  by  no  means  inferior  in  architec- 
tural efi'ect  to  the  intersecting  vaults  of 
after  ages.  The  transepts  here  ai'c  short- 
ened internally,  so  as  only  to  give  room 
for  two  small  latei-al  chapels  ;  but  exter- 
nally they  are  made  very  imposing  by 
the  addition  of  two  towers,  one  at  the 
end  of  each.  This  was  another  means 
of  solving  a  difiiculty  that  everywhere 
met  the  Mediaeval  architects,  of  giving 
the  greatest  dignity  to  the  most  holy 
place.     The  proper  and  obvious  mode  of  doing  this  was  of  coiirse  to 


489.      Plan  ul  Cathrdral  at  Aiii^oulOme. 
From  Venieilb.     Scale  100  ft.  to  1  iu. 


()  1  (> 


FUENCH  AKCHITKCTUHE. 


liooK  III. 


■f'-jyy*'- 


raise  a  tower  or  dome  at  the  intersection  of  the  nave  and  transepts,  but 
the  difficiilfies  of  eonstruction  involved  in  this  mode  of  proceeding  were 
snch  that  they  seklom  were  enabled  to  carry  it  out.     This  can  only  be 

said,  indeed,  to  have  been 
fairly  accomplished  in 
England.  At  Angou- 
leme,  as  will  be  obsei-ved 
in  the  plan,  there  is  no 
passage  round  the  altar, 
nor  is  the  choir  sejiaratcd 
from  the  body  of  the 
church.  In  Italy,  and 
indeed  in  Germany,  this 
does  not  seem  to  have 
been  considered  of  im- 
portance ;  but  in  France, 
as  we  shall  presently 
see,    it    was    considered 

■190.    One  Bay  of  Nave,  Angoulcme.     From  Verniilli.     .No  scale,   the     most     indispensable 

part  of  the  arrangement 
of  the  church,  and  to  meet  this  exigency  the  architects  were  afterwards 
obliged  to  invent  a  mode  of  isolating  the  choir,  by  carrjnng  a  lofty  stone 
railing  or  screen  roiind  it,  wholly  independent  of  any  of  the  constructive 
parts  of  the  church.  This,  there  is  little  doubt,  was  a  mistake,  and  in 
every  respect  a  less  beautiful  aiTangement  than  that  adopted  in  the 
North ;  still  it  seems  to  have  been  the  only  mode  of  meeting  the 
difficulty  in  the  absence  of  aisles,  and  in  some  instances  the  richness 

with  which  the  screen  was  ornamented,  and  the 
unbroken  succession  of  bassi-relievi  and  sculptural 
ornaments,  make  us  forget  that  it  is  only  a  piece  of 
church  furniture,  instead  of  being  an  integral  part 
of  the  desigTi  of  the  building. 

One  of  the  earliest  examples  of  this  arrange- 
ment which  has  been  preserved  is  in  the  church 
at  Moissac,  remarkable  for  its  strange  mythical 
sculptiire  and  rude  pointed  architecture,  both  be- 
longing to  the  11th  century,  and  as  unlike  anything 
to  be  found  in  any  other  part  of  France  as  can 
well  be  conceived. 

At  a  later  age  we  find  in  the  cathedral  at  Alby 
the  same  system  carried  to  its  acme,  and  still  ad- 
491. 1'laii  of  Church  at  Mo-   hered  to  in  all  essential  parts  in  spite  of  the  influ- 

issac.     From  Taylor  and  ■,  ,.  (,,,  /--ijt-.i 

Nodier.   Scale  100  ft.  to  cncc  and  prcdommajice  oi  the  pure  (jrotlnc  styles, 
^  '"•  which  had  then  so  generally  superseded  it.     The 

foundation  of  the  church  was  laid  only  in  the  year  1282,  and  it  was  not 
so  far  completed  as  to  admit  of  its  dedication  till  1476.  Its  choir  and 
fresco  decorations  were  added  by  the  celebrated  Louis  d'Amboise,  who 
completed  the  whole  in  1512.  As  will  be  seen  from  the  plan  (woodcut 
No.  492),  the  church  is  one  immense  unbroken  vaulted  hall,  55  ft.  in 


Chai'.  11. 


AQUITANIA. 


()i; 


width  by  202  in  Icngtli ;   or  culdiug  the  chapels,  the  internal  width  is 
82  ft.,  and  the  total  length  upwards  of  800  ft. 

As  will  be  observed,  the  whole  of  the  buttresses  are  internal,  as  is  very 
generally  the  ease  in  the  Sonth. 
Where  painted  glass  is  not  used, 
and  fresco  painting  is  the  princi- 
pal mode  of  decoration,  such  a 
system  has  many  advantages.  The 
outer  walls  are  scarcely  ever  seen. 
Great  internal  extent  and  an  ap- 
pearance of  gigantic  strength  are 
imparted,  and  the  whole  space 
covered  by  the  building  is  avail- 
able for  internal  use.  But  where 
paint(id  glass  is  the  principal 
mode  of  decoi'ation,  as  was  the 
case  to  the  north  of  the  Loire,  such 
a  system  was  evidently  inadmis- 
sible. The  walls  were  internally 
kept  as  iiat  as  possible,  so  as  to 
allow  the  windows  to  be  seen  in 
every  direction,  and  all  the  me- 
chanical expedients  were  put  out- 
side. Admirably  as  the  Northern 
architects  managed  all  this,  I  can- 
not help  thinking,  if  we  leave  the 
painted  glass  out  of  the  question, 
that  the  Southern  architects  had 
hit  on  the  more  artistic  aiTangement  of  the  two  ;  and  where,  as  at  Alby, 
the  lower  parts  of  the  recesses  between  the  internal  buttresses  were 
occupied  with  deep  windowless  chapels,  and  the  upper  lights  were 
almost  w^hoUy  concealed,  the  result  was  an  extraordinary  appearance 
of  repose  and  mysterious  gloom.  This  character,  added  to  its  simplicity 
and  the  vastness  of  its  vault,  render  Alby  one  of  the  most  impressive 
churches  in  France,  and  a  most  instnictive  study  to  the  philosophical 
inquirer  into  the  principles  of  effect,  as  being  a  Gothic  church  built  on 
principles  not  only  dissimilar  from,  but  almost  diametrically  opposed 
to  those  which  we  have  usually  been  accustomed  to  consider  as  indis- 
pensable and  inherent  requisites  of  the  style. 

Besides  those  which  are  built  wholly  according  to  this  plan,  there 
are  a  great  niimber  of  churches  in  this  province  which  show  its  influ- 
ence in  more  respects  than  one,  though,  having  been  rebuilt  in  a  sub- 
sequent age,  many  of  the  original  features  are  necessarily  lost.  The 
cathedral  at  Bordeaux  is  a  remarkable  example  of  this,  its  western 
portion  being  a  vast  nave  without  aisles,  60  ft.  wide  internally,  and 
nearly  200  ft.  in  length.  Its  foundations  show  that,  like  that  at  Angou- 
lenie,  it  was  originally  roofed  by  three  great  domes ;  but  being  rebuilt 
in  the  13th  century,  it  is  now  covered  by  an  intersecting  vault  (jf  that 
age,  with  two  stories  of  windows,  and  an  immense  array  of  flying  but- 


492.       Plan  of  Ciitliedral  at  Alby.     From  Cbapuy, 
Catb^drales  Fraii^aises.    Scale  100  ft.  to  1  in. 


(318 


FRENCH  AUCHITECTUIIE. 


Book 


tresses  to  support  its  thrust,  which  all  might  have  been  dispensed  with 
had  the  architects  retained  the  original  sim])ler  and  more  hcautiful  form 
of  roof.  The  cathedral  of  Toulouse  shows  the  same  peculiarity  of  a  wide 
aisleless  nave,  leading  to  a  choir  of  the  usual  construction  of  those  of 
the  13th  and  14th  centunes  in  this  country  ;  and  many  other  examples 
might  be  quoted  where  the  influence  of  the  earlier  style  peers  through 
the  Northern  Gothic  which  succeeded  and  nearly  obliterated  it. 

The  Gothic  churches  of  this  province  are  neither  so  numerous  nor 
so  remarkable  as  those  of  the  domical  class  we  have  just  been  describ- 
ing ;  still  there  are  several  examples,  far  too  important  to  be  passed 
over,  and  Avhich  will  sei-ve  besides  to  enable  us  to  introduce  the  new 
form  of  church  building  which  became  prevalent  in  France,  to  the 
exclusion  of  all  others,  and  indeed  characteristic  of  the  French  style 
as  contradistinguished  from  those  of  other  countries. 

The  typical  example  of  the  style  in  this  province  is  the  gi-eat 
church  of  St.  Saturnin,  or  St.  Sernin,  at  Toulouse,  dedicated  in  the 
year  1090.  This  church,  though  one  of  the  finest  and  most  interest- 
ing ui  France,  has  neither  been  drawn  nor  accurately  described.  The 
church,  however,  of  Conques  is  of  the  same  age  and  style,  and  though 
far  inferior  in  size,  will  serve  to  explain  the  peculiarities  of  plan  to 
which  I  have  just  alluded. 

The  nave,  as  will  be  observed  (woodcut  No.  493),  has  side  aisles, 

above  which  runs  a  grand  gallery.  The  roof 
of  this  gallery — in  sectitjn  the  quadrant  of  . 
a  circle — forms  an  abutment  to  the  roof  of 
the  nave,  which  is  a  bold  tunnel  vault  orna- 
mented by  transverse  ribs  only .  So  far  the 
constructive  arrangements  are  the  same  as  in 
the  transitional  church  of  Fontifroide,  quoted 
above  (p.  605).  Passing  from  the  nave  to  the 
choir,  we  come  upon  a  more  extended  and  com- 
plicated an-angement  than  we  have  hitherto 
met  -with.  It  will  be  recollected  that  the 
Eomanesque  apse  was  a  simple  large  niche, 
or  semi-dome  ;  so  it  was  in  the  Lombard  and 
German  styles  described  above,  and  gene- 
rally even  in  the  neighbouring  Pioven^al 
style,  and  always — when  unaltered — in  the 
domical  style  last  described.  In  the  present  instance  it  will  be  seen 
that  a  semicircular  range  of  columns  is  substituted  for  the  wall  of 
the  apse,  an  aisle  bent  round  them,  and  beyond  the  aisle  there  are 
always  three,  five,  or  even  seven  chapels  opening  into  it,  which 
give  it  a  complexity  very  different  from  the  simple  apse  of  the 
Fioman  basilicas  and  the  other  styles  we  have  been  describing,  and  at 
the  same  time  a  variety  of  perspective  and  a  play  of  light  and  shade 
which  are  unrivalled  in  any  similar  invention  of  the  middle  ages. 
The  apse,  properly  speaking,  is  a  solid  semi-cylinder,  sunuounted  by  a 
semi-dome,  but  always  solid  below,  though  generally  broken  by  ^^dn- 
dows  above.     The  chevet  on  the  contraiy  is  an  apse,  always  enclosed 


493.    Plan  of  Churcli  at  Conques. 

From  Taylor  and  Nodier. 

Scale  100  ft.  to  1  in. 


CiiAP.  ir. 


AQUITANIA. 


G19 


built 


by  an  open  screen  of  cohimns  on  the  gronnd-floor,  and  opening  into 
an  aisle,  which  again  always  opens  into  three  or  more  apsidal  chapels. 
This  arrangement  is  so  peculiarly  French,  that  it  may  properly  be 
characterised  by  the  above  French  word,  a  name  once  commonly  applied 
to  it,  though  latterly  it  has  given  way  to  the  more  classical,  but  cer- 
tainly less  suitable  term  of  apse.  Its  origin  too  is  worth  inquiring 
into,  and  seems  to  be  capable  of  easy  explanation. 

The  uses  which  the  various  nations  of  Christendom  made  of  the 
circular  form  of  building  left  them  by  the  Eomans  have  been  more  than 
once  adverted  to  above.  The  Italians  used  it  almost  always  standing- 
alone  as  a  tomb-house  or  as  a  baptistery:  the  Germans  converted  it 
into  a  western  apse,  while  sometimes,  as  in  the  example  at  Bonn 
(woodcut  No.  430),  they  timidly  added  a  nave  to  it ;  but  the  far  more 
frequent  practice  with  the  Germans,  and  also  in  England,  was  to  build 
first  the  round  church  for  its  own  sake,  as  in  Italy :  then  the  clergy 
l\)r  their  own  accommodation  added  a  choir,  that  they  might  pray  apart 
from  the  people. 

The  French  took  a  different  course  from  all  these.  They 
round  churches  like  other  nations,  apparently, 
in  early  times  at  least,  intended  to  stand  by  them- 
selves ;  but  in  no  instance  do  they  appear  to  have 
applied  them  as  naves,  nor  to  have  added  choirs 
to  them.  On  the  contrary,  the  clergy  always  re- 
tained the  circular  building  as  the  sacred  depo- 
sitory of  the  tomb  or  relic,  the  Holy  of  Holies, 
and  added  a  sti-aight-lined  nave  for  the  people. 
Of  this  class  was  evidently  the  church  which  Per- 
petuus built  in  the  5th  century  over  the  grave  of 
8t.  Martin  at  Tours.  There  the  shrine  was  sur- 
rounded by  79  pillars  arranged  in  a  circular  form  : 
the  nave  was  lined  by  41, — 20  on  each  side,  with 
one  in  the  centre  of  the  west  end,  as  in  Germany. 
But  more  interesting,  because  more  certain  than 
this,  is  the  church  of  St.  Benigne,  at  Hijon,  built 
inidoubtedly  in  the  first  years  of  the  11th  century, 
and  pulled  down  only  at  the  Eevolution.  It  had 
been  previously  carefully  measured  and  described 
in  Dom  Plancher's  History  of  Burgundy.  As  seen 
by  him,  the  foundations  only  of  the  nave  were  of 
the  original  structure,  for  in  the  year  1271  one  of 
its  towers  fell,  and  so  damaged  it  that  the  whole 
of  that  part  of  the  church  was  then  rebuilt  in  the 
perfect  pointed  style  of  that  day.  Without  enter- 
ing too  much  into  detail,  it  will  suffice  to 
that  the  part  shaded  dark  in  the  woodcut  (No.  494) 
is  taken  literally  from  Dom  Plancher's  plan,  regarding  which  there  can 
1)0  no  doubt,  and  the  contemporaiy  descriptions  are  so  full  that  very 
little  uncertainty  can  exist  regarding  the  dimensions  and  general 
disposition  of  the  nave. 


494.     Plan  of  St.  liciiifiiir,  Di- 
jon.    From  Dom  I'lanclier's 
state      Ilistoireik'  Bourgugnu.  Scale 
lUO  ft.  to  ]  in. 


020 


KIJKNCII  AlUUIlTKCrURE. 


Book  111. 


The  bodies  of  tlio  confosKors,  SS.  Urban  and  Gregory,  were,  it 
appears,  originally  buried  in  tlie  church  of  St.  John  the  Baptist,  whi(;h 
seems  to  liave  been  the  name  most  properly  applied  to  this  circular 
building;  they  were  afterwards  transferred  to  the  crypt  below  the  high 
altar,  in  the  rectangular  part  of  the  church.  Above  the  lower  story, 
which  retained  its  name  as  a  baptistery  and  burial  place,  the  up})er 
chui-ch  was  dedicated  to  the  Virgin  Mary ;  above  that  was  the  church 
of  the  Holy  Tiinity ;  and  on  the  top  of  the  I'ound  towers,  on  one  side, 
as  in  the  St.  Gall  plan  (p.  550),  the  altar  of  St.  Michael,  on  the  other 
probably  of  Gabriel. 


y±::!p* 


495.    Church  of  Oharroux. 
Scale  100  ft.  to  1  in. 


49C.    rian  of  St.  Martin  at  Tours. 
Scale  100  ft.  to  1  in. 


JBRARY  ^ 


Another  chuich  of  the  same  class,  though  of  a  later  age,  and  of 
which  enough  still  remains  to  enable  us  to  trace  with  certainty  its 
plan,  is  that  of  Charroux  on  the  Loire,  which  shows  in  perfection  the 
arrangement  described,  and  it  required  only  one  step  further  to  bring 
the  system  to  its  complete  state.  This,  it  will  be  seen,  was  very  nearly 
accomplished  in  the  rebuilding  of  the  church  of  St.  Martin  at  Tours  in 
the  12th  century.  The  architect  was  still  somewhat  hampered  by 
feeling  himself  obliged  to  follow  the  outline  of  the  old  basilica  of  Per- 
ietuus,  and  to  build  on  its  foundation  so  as  not  lo  disturb  either  the 
^rino  of  the  saint,  or  any  places  considered  holy  ;  but  still  he  has  very 


/sT/ 


CirAP.  II.  AQUITANIA.  ti21 

nearly  perfected  the  arrangement  of  the  chevet,  by  omitting  half  the 
circle  or  nearly  so,  and  commencing  the  walls  of  the  nave  from  its 
tangents.  This  is  done  in  all  its  details  in  the  church  of  Conqiies, 
described  above,  where,  tied  down  by  no  previous  building,  the  archi- 
tect was  allowed  free  scope  for  his  design.  The  plan  so  produced  was 
never  lost  sight  of  by  the  French,  but  was  developed  into  a  vast 
variety  of  beautiful  forms,  Avhich  we  shall  shortly  have  to  examine. 

When  once  this  transformation  of  the  round  church  into  the  chevet 
tennination  of  a  basilica  was  effected,  the  French  adhered  to  it  with 
singular  constancy.  I  am  not  aware  of  their  ever  having  bnilt  a 
circular  church  afterwards  intended  to  stand  alone ;  and  there  are  very 
few  instances  of  basilicas  of  any  importance  without  this  form  of  apse. 
Some,  it  is  true,  have  been  rebuilt  on  old  fonndations,  with  square 
eastern  ends,  but  this  is  rare  and  exceptional,  the  chevet  being  the 
true  and  typical  termination. 

The  church  at  Conques  and  that  of  Toulouse  both  show  it  fully 
and  beautifully  developed,  though  externally  the  chapels  hardly  fit 
pleasingly  into  the  general  design,  and  look  more  as  if  after-thoi;ghts. 
This,  however,  was  soon  afterwards  remedied,  and  the  transformation 
made  complete. 

The  solidity  with  which  these  churches  were  built,  and  the  general 
narrowness  of  their  proportions  as  compared  with  the  domical  churches 
( if  the  same  time  and  district,  enabled  the  architects  to  attempt  some 
splendid  erection  on  the  intersection  of  the  nave  and  transepts,  which 
is  the  spot  where  height  should  always  be  aimed  at.  The  dome  at 
Cruas  in  the  Provencal  district  has  already  been  described  (woodcut 
No.  482).  The  church  at  Conqnes  has  one  as  important,  though  dis- 
similar ;  but  the  finest  is  that  of  St.  Sernin  at  Toulouse  (woodcut 
No.  497),  which  rivals,  if  indeed  it  docs  not  in  some  respects  surpass, 
our  spires  at  Salisbury,  Norwich,  and  elsewhere.  The  3  lower  stories 
only  are  of  the  age  of  the  church ;  the  2  upper  were  added  long 
aftei-wards,  but  adapted  with  remarkably  good  taste.  Though  diff"ering 
in  design  and  detail,  their  general  form  and  outline  is  such  as  to 
accord  most  ha])pily  with  the  older  structure  on  which  they  are  placed. 

The  form  of  the  spire  being  octagonal  admits  of  its  including  the 
widtli  of  the  side  aisles  as  well  as  of  the  nave  in  its  base,  and  thus 
gaining  that  breadth  in  which  all  pointed  Gothic  spires  of  this  class 
are  so  deficient,  and  which  was  only  attained  in  the  domes  of  the 
Renaissance,  and  then  at  the  expense  both  of  truthfulness  of  construc- 
tion, and  by  concealed  mechanical  expedients  that  almost  certainly 
ensure  their  early  destruction. 

In  this  example  there  is  a  sameness  of  design  in  placing  so  many 
similar  stories  one  over  the  other,  merely  diminishing  in  size.  The 
general  effect,  however,  is  good,  and  for  a  central  object  it  is,  if  not 
tlie  finest,  certainly  one  of  the  very  best  which  France  possesses. 

As  in  all  French  styles,  the  western  facades  were  the  parts  on 
which  the  architects  lavished  their  ornaments  with  the  most  unsparing 
hand.  Generally  they  were  flat,  and  m(jst  of  them  now  terminate 
squarely,  with  a  flat  line  of  cornice  of  slight  projection.     Beneath 


G22 


FRENCH  ARCHITECTURE. 


r.doK  111 


497 


St.  Semin,  Toulouse.    From  Taylor  and  Xoditr. 


this  there  generally  is  a  range  of  arches  filled  with  sculpture  or  in 
tended  to  be  so — the  central  one,  and  that  only,  being  used  as  a  win- 
dow. Beneath  this  is  the  great  portal,  on  which  more  ornament  is 
bestowed  than  on  any  other  feature  of  the  building.  Some  of  these 
gateways  in  this  province,  as  in  Provence,  are  AVundrous  examples  of 
patient  labour,  as  well  as  models  of  beauty.  They  possess  more  than 
the  richness  of  our  o\\ti  contemporary  Norman  portals,  with  a  degree 
of  refinement  and  delicacy  which  our  forefathers  did  not  attain  till  a 
much  later  age.  Some  of  these  church-portals  in  Aquitaine  arc  com- 
paratively simple,  but  even  they  make  up  for  the  Avant  of  sculpture 
by  the  propriety'  of  their  design  and  the  elegance  of  tlieir  composition. 


Chap.  II. 


AQUITANIA. 


623 


.)<)g.  C'hurcli  at  Lniipiac.     From  Leo  Drouyji,  Architecture  au  Jloyen  Age. 


491). 


St.  Eloi,  Espalion.    From  Taylor  and  Noilicr. 


G24 


FRENCH  AllCHITECTURE. 


Book  III. 


500. 


Climch  at  Aillas 


501.  Tomb  at  .St.  I'ierie,  Toulouse.  From  Taylor  .md  Nmlior. 


The  chiircli  at  Aillas  pre- 
sents a  fail-  siiccimen,  on  a 
small  scale,  of  the  class  of 
"2' I  design  which  is  peculiar  to 
the  facades  of  Aqnitania, 
though  it  is  doubtful  if  the 
original  termination  of  the 
gable  has  not  been  lost  and 
replaced  by  the  one  shown 
in  the  drawing.  The  facade 
of  Angoiilcme  is  designed  on 
the  same  plan,  though  much 
richer.  Those  of  Civra^^ 
Parthenay,  and  manj^  others, 
show  the  same  characteris- 
tics. They  appear  to  have 
been  designed,  not  to  express 
the  form  and  constmction  of 
the  interior,  but  as  a  -vehicle 
for  a  most  extensive  seiies 
of  scidptures  exhibiting  the 
whole  Bible  history.  Some- 
times, however,  the  design 
is  more  strictly  architectural, 
as  in  the  facade  of  the  chui'ch 
of  Loupiac  (woodcut  Ko.  49S, 
on  the  previous  page),  where 
sculpture  is  wholly  subordi- 
nate, and  the  architectural 
members  are  so  grouped  as  to 
form  a  pleasing  and  efl'ective 
design,  not  unlike  some  to 
be  found  farther  noith  and 
in  our  own  countiy. 

The  varieties  of  these, 
however,  are  so  endless  tliat 
it  would  be  in  vain  to  attempt 
either  to  particularize  or  de 
scribe  them.  Many  of  these 
arrangements  ai'c  unusual, 
though  almost  always  pleas- 
ing, as  in  the  chinch  at 
Espalion  (woodcut  No.  499), 
M'here  the  belfry  is  erected 
as  a  single  wall  over  the 
chancel  -  arch,  and  groups 
well  with  the  apsidal  ter- 
mination, thiiHgli,  ns  in  al- 
most   all  *instiinct's    in    this 


Chap.  II.  AQUITANIA.  G25 

country,  the  western  facade  wants  feature  and  cliaractor  jsiifficient  to 
lialance  it. 

Generally  speaking,  the  cloisters  and  other  ecclesiastical  adjuncts 
are  so  similar  to  those  of  Provence,  described  in  the  last  chapter,  that 
a  separate  description  of  them  is  not  needed  here.  They  are  all  of 
the  columnar  style,  supporting  small  aiches  on  elegant  capitals  of  the 
most  varied  and  elaborate  designs,  guided  by  the  delicate  feeling  of 
the  south,  which  prevented  their  running  into  the  bai'barism  so  com- 
mon farther  north  when  the  architects  attempted  anytliing  beyond  the 
common  range  of  richness. 

The  same  feeling  pervades  the  tombs,  monuments,  and  domestic 
architecture  of  this  part  of  France,  making  them  well  worthy  of  study 
in  far  more  detail  than  has  yet  been  attempted.  The  woodcut  (No.  501) 
represents  one  small  example  of  a  tomb  built  into  a  wall  behind  the 
church  of  St.  Pierre  at  Toulouse.  It  is  one  of  those  graceful  little  bits 
of  architecture  wldch  meet  one  at  every  turn  in  the  pleasant  south, 
where  the  people  have  an  innate  feeling  for  art  which  displays  itself 
in  the  smallest  as  well  as  in  the  most  impoiiant  works. 


li  s 


626  FRENCH  ARCHITECTURE.  R.ook  IH. 


CHAPTEK    in. 
A  N  J  0  U. 

CONTENTS. 
Cathedral  at  Angers  —  Clnu'ch  at  Foutevrault  —  Poitiers  —  Spires. 


The  province  of  Anjoii  cannot  perhaps  be  so  distinctly  defined  as 
the  two  already  described.  On  the  north  indeed  it  is  separated  by  the 
clearest  line  both  from  Kormandy  and  from  the  Frankish  province. 
But  in  the  south,  as  before  remarked,  it  is  not  easy  to  say,  in  the 
present  state  of  our  knowledge,  what  belongs  to  Aquitaine  and  what 
to  Anjou.  Not  that  there  is  any  want  of  sufficient  marks  of  dis- 
tinction between  the  styles  themselves,  but  a  large  portion  of  examples 
appear  to  belong  to  a  sort  of  debateable  ground  between  the  two.  This, 
however,  is  true  only  of  the  buildings  on  the  borders  of  the  province. 
The  two  capitals  of  Angers  and  Toitou  are  full  of  examples  such  as 
could  belong  to  no  other  province,  and  generally  speaking  the  same 
remark  applies  to  all  the  principal  churches  of  the  province. 

The  age  of  the  greatest  splendour  of  this  province  is  from  the 
accession  of  Foulqi^es  Nerra  in  the  year  989  to  the  death  of  Henry  II. 
of  England,  1190.  During  these  two  centuries  its  prosperity  and  inde- 
pendent power  rose  to  a  height  which  it  neither  maintained  afterwards 
nor  ever  regained.  Before  this  time  the  buildings  found  scattered 
here  and  there  are  few  and  insignificant.  During  its  continuance  eveiy 
town  was  enriched  by  some  noble  effort  of  the  piety  and  architectural 
taste  of  the  age.  After  its  conclusion  the  completion  of  works  pre- 
viously commenced  was  all  that  was  attempted.  The  rising  power 
of  the  northern  provinces,  and  of  the  English,  seems  to  have  given  a 
check  to  the  prosperity  of  Anjou,  which  it  never  thoroughly  recovered  ; 
for  when  it  did  to  a  certain  extent  again  become  prosperous  and 
wealthy,  it  was  under  the  influence  and  dominion  of  the  great  central 
Prankish  })ower  which  ultimately  alisoi-bed  into  itself  all  the  separate 
nationalities  of  France,  and  obliterated  those  individualities  which 
are  so  strikingly  prominent  in  the  earlier  part  of  her  history. 

The  plan  of  St.  Maurice  (woodcut  No.  602),  the  cathedral  of  Angers, 
maybe  considered  as  a  typical  example  of  the  Angiovine  style,  and  will 
serve  to  explain  in  what  it  differs  from  the  northern  or  resembles  the  I 
soiithern  styles.  On  comparing  it  with  the  plan  of  Souillac,  and  more 
especially  with  that  of  the  cathedral  at  Angouleme,  it  will  be  seen  how 
nearly  it  resembles  them — the  great  difference  being  that,  instead  of 
cupolas  over  each  square  compartment,  it  has  the  intersecting  vault  of 
the  northern  styles.     Its  buttresses  too  are  external,  but  less  in  pro- 


Chap.  Til. 


ANJOU. 


r)27 


jection  than  might  almost  be  supposed  necessary  to  support  a  vault 
52  ft.  in  span.  These  certainly  show  a  tendency  towards  a  northern 
style  of  constrnction ;  but  the  ab- 
sence of  free  standing  pillars  or 
of  aisles,  and  the  general  arrange- 
ment of  the  whole  building,  are 
rather  soxithei-n  peculiarities.  Ex- 
ternally its  fa(^ade  has  been  succes- 
sively piled  up  at  various  times 
from  the  12th  century,  when  the 
body  of  the  church  was  commenced 
and  nearly  finished,  to  the  16th, 
when  it  was  completed  in  the  style 
of  the  Eenaissance. 

Another  church  in  the  same 
city,  of  equal  interest,  thoiigh  not 
so  large  or  important,  is  that  of  the 
Truiite.  It  consists  of  one  nave 
without  transepts,  52  ft.  wide,  mea- 
suring into  the  recesses,  though 
only  32  ft.  wide  between  the  piers. 
It  is  roofed  with  an  intersect- 
ing vault  in  8  compartments,  of 
somewhat  northern  pattern,  but 
with  a  strong  tendency  toWards  the 
domical  forms  of  the  southern  style, 
and  possessing  a  peculiarity  rather 
frequently  attempted,  of  trying  to 
attain  greater  appearance  of  length 
by  lowering  the  vaults  from  the 
entrance  towards  the  altar.  Thus 
at  the  entrance  it  is  80  ft,  in  height, 
but  gradually  sinks  to  65  at  the 
eastern  end.  This  contrivance  is 
a  more  trick,  and,  like  all  such  in 
architecture,  a  failure. 

The  details  of  this  church  are 
rich  and  good  throi;ghoi;t,  and 
altogether  the  effect  of  the  7  re- 
cesses on  each  side  is  pleasing 
and  satisfactory.  Indeed  it  may  be 
considered  as  the  typical  and  best 
example  of  that  class  of  churches, 
of  which  a  later  specimen  was  the 
cathedi-al  at  Alby,  described  in  the 
last  chapter,  and  which  are  so  beau-  503. 
tiful  as  to  go  far  to  shako  our  abso- 
lute faith  in  the  dogma  that  aisles  are  indispensably  necessary  for  the 


502.    Cathedral  at  Angers.     From  I'auUricr,  Aiijoii 
et  ses  Mouumens.    Scale  100  feet  to  1  incli. 


i<a«p^ 


St.  Trinitf?,  Angers.    From  FauUrier. 
Scale  100  IV et  to  1  inch. 


proper  eft'cct  of  a  Gothic  church. 


028 


FRENCH  A RCPITTECTURE. 


Book  TIT. 


Even  more 
point  ot"  view. 


interesting; 


is  tlio   little 


5U4. 


View  of  the  Inteiior  of  Loches. 
by  the  Author. 


From  a  Sketch 


than  cither  of  these,  in  an  archaiolctgieal 
eastlo  chapel  at  Loches,  commenced  by 
Geoffrey  Grise  Gonelle,  Count  of 
Anjou,  in  the  year  902 ;  it  was 
continued  by  his  son,  Foiilqiies 
Nerra,  to  whom  the  nave  must 
be  ascribed ;  while  the  western 
tower  is  probably  the  only  part 
now  remaining  of  the  older 
church.  The  eastern  portion  was 
rebuilt  in  the  12th  century  by 
Thomas  Pactius,  the  prior,  and 
completed  in  1 180 — the  latter  part 
being  in  the  well-known  Norman 
style  of  that  age.  An  interesting- 
point  in  this  church  is  that  the 
Nonnan  round-arch  style  is  built 
over  and  upon  the  pointed  arches 
of  the  nave,  which  are  at  least 
a  century  older,  having  been 
erected  between  the  years  987 
and  1040.  It  will  be  seen  from 
the  view  given  of  this  chapel  that  the  pointed  style  here  used  has 
nothing  in  common  with  the  pointed  architecture  of  the  north  of  France, 

but  is  that  of  the  south,  such  as  we  have 
seen  in  the  churches  of  Perigeux  and 
Souillac.  It  is  used  here,  as  there,  to  sup- 
port domes.  These,  however,  in  this 
instance,  instead  of  being  circular,  are 
octagonal,  and  rise  externally  in  octagonal 
cones  of  stone-work,  giving  a  very  pe- 
culiar but  interesting  and  elegant  outline 
to  the  building.  They  also  point  out  a 
method  by  which  roofs  at  least  as  high  as 
those  Avhich  afterwards  prevailed  could 
have  been  obtained  in  stone  if  this  mode 
of  vaulting  had  been  persevered  in.  The 
church  of  St.  Sergius  at  Angers  has  pointed 
arches,  certainly  of  an  early  date,  but 
whether  so  old  as  this  or  not  is  not  quite 
certain. 

It  has  already  been  suggested  that  all 
round  churches  were  originally  sepulchi'al 
or  intended  to  be  so.  There  can  also  be 
little  doubt  but  that  the  halves  of  round 
churches,  which,  as  explained  above,  were 
adopted  as  the  chevet  termination  of  French 
basilicas,  were  also  intended  either  tos^-m- 
bolizc  a  tomb-house  or  relic-shrine,  or  actually  to  serve  as  the  sepul- 


505.    Plan  of  Church  at  FontevrauU. 
From  Verneilh.   Scale  100  feet  to  1  inch 


CllAP.   III. 


ANJOU. 


629 


5116.        View  of  Chevet  at  Foiitevrault.     t'rum  Kaullrier. 


clu'es  of  distiugui.shed  personages.  This  certainly  appears  to  have 
heen  the  case  iu  the  earlier  French  examples,  and  among  these  one  of 
the  most  splendid  in  this  jirovinco,  indeed  almost  the  only  one  of  any 
real  imporfcince,  is  that  of  Fontevratilt,  where  repose,  or  rather  ^-cposed, 
the  remains  of  two  of 
our  riantagenet  kings, 
lleury  11.  and  Kichard 
1.,  with  others  of  their 
family.  As  will  be  seen 
from  the  Avoodcut  (No. 
50(3),  it  is  a  maiisolemn 
worthy  of  them,  and  a 
[)leasing  example  of  the 
style  of  the  age,  and 
though  certainly  not  so 
pecnliarly  Angiovine 
as  the  apsidal  churches 
of  Angers  and  Poitiers, 
has  still  distinjniishino; 
characteristics     which  » 

are  not  found  in  any  other  province  of  France.  The  nave  is  sur- 
moimted  hy  4  domes,  as  is  usual  in  this  and  the  more  southern  pro- 
vinces. It  is  only  in  having  an  aisle  trending  round  the  apse  that  it 
differs  fi-om  the  ordinary  churches.  It  may  be  seen  from  the  plan  how 
awkwardly  this  is  done,  and  how  ill  its  narrow  dimensions  agree  with 
the  spaciousness  of  the  nave. 

Woodcut  No.  507  demonstrates  how  similar  the  domes  of  its  nave 
are  to  those  of  Angouleme,  Souillac, 


and  those  of  the  south — this  domical 
aiTangement  being  in  fact  as  cha- 
racteristic of  this  age  and  locality 
as  the  intersecting  vault  afterwards 
became  of  the  northern  provinces. 

If  the  apse  or  chevet  of  this 
church  is  not  so  strictly  Angiovine 
as  other  examples,  the  facade  of  the 
church  of  Notre  Dame  de  Poitiers 
(shown  in  woodcut  No.  508)  is  not 
open  to  the  same  remark,  being 
strictly  local  in  all  its  parts.  Ori- 
ginally the  one  window  it  pos- 
sessed was  circular,  but  in  the  1 5th 
century,  as  may  be  seen  from  the 
mouldings  then  introduced,  it  was 

cut  dowTi  to  its  present  form,  no  doubt  to  make  more  room  for  painted 
glass,  which  at  that  age  had  superseded  all  other  modes  of  decoration  ; 
whereas  in  the  12th  century,  to  which  the  church  belongs,  external 
sculpture  and  internal  mural  paintings  were  the  [)revailing  modes  of 
architectural  expression.     As  may  be  seen  from  the  view,  sculi)ture  is 


507. 


Elevation  of  one  of  tlie  Bays  of  flie  Nave  at 
Foutevrault.     From  Vcrneilli. 


G30 


FKENCH  AHCHrrKCrLTP.K. 


Book  III. 


here  used  in  a  jirofusion  of  which  no  example  belonging  to  a  later  age 
exists  ;  and  though  wo  cannot  help  admiring  the  larger  proportions 
and  broader  masses  of  subsequent  builders,  still  there  is  a  richness 
and  a  graphic  jjower  in  the  exuberant  sculpture  of  the  earlier  faeades 
which  we  miss  in  after-ages,  and  of  which  no  mere  masonic  excellence 
can  ever  supply  the  place. 


508.    Fafade  of  Church  of  Notre  Dame  at  Poitiers.    From  Chapny,  Moyen  Age  Monumental. 


This,  though  not  the  largest,  is  probably  the  best  and  richest  of  its 
class  in  this  province.  The  border  churches  of  Parthenay,  Civray,  and 
Ruifec,  all  show  traces  of  the  same  style  and  the  same  foi'ms  more  or 
less  richly  carried  out ;  but  none  have  the  characteristic  comer  towers, 
nor  do  they  retain  their  pedimented  gable  so  perfect  as  Notre  Dame 
at  Poitiers. 

Besides  this  one  there  are  four  cliurches  in  Poitieis,  all  which  were 
certainly  erected  in  the  11th  century,  and  the  greater  part  of  them 


Chap.  ril. 


ANJOU. 


681 


•<&, 


^ 


still  retain  unaltered  tlio  features  of  that  age.  The  oldest,  St.  Hilaire 
(a.d.  1049),  is  remarkable  for  an  irregularity  of  plan  sufficient  to 
puzzle  all  the  antiquaries  of  the  land,  and  only  to  be  accounted  for  on 
the  supposition  of  its  being  built  on  the  foundation  of  some  earlier 
church,  which  it  has  replaced. 

Moutiemeuf  (1066)  possesses  in  its  nave  a  circular-headed  tunnel - 
vault,  ornamented  with  transverse  ribs  only,  but  resting  on  arches 
^vllich  cut  slightly  into  it,  without  any  string-course  or  plain  wall, 
as  is  usual  in  the  south,  showing  a  tendency  towards  intersecting 
vaulting,  indicative  of  an  approach  to  the  north. 

The  most  remarkable  parts  of  St.  Porchaire  and  St.  Radagonde  are 
their  western  towers,  which  are  fine  specimens  of  their  class,  especially 
the  latter,  which  changes  pleasingly  into  an  octagon  before  terminating 
in  a  short  spire.  Altogether  this  church  shows  that  elegance  of 
feeling  the  want  of  which  is  a  chief  defect  of  the  contemporary 
Xorman  style. 

The  cathedral  of  Poitiers  was  founded  in  the  year  1101.    Its  eastern 
end  belongs  to  a  transitional 
period,     while     its    western  L 

front  was  not  completed  till  '" 

the  Pointed  Gothic  style  had  •  f 

reached  its  utmost  perfection,  i 

200   years    later.      Its   plan,  i 

however,  probabl}^  belongs  to  ,  ' 

the  earlier  period,   and  pre-  U 

sents  so  strong  a  contrast  to  jp-l_  _  ^t 
the  northern  churches  of  the 
same  date  that  it  may  be 
quoted  here  as  belonging  to 
the  style  which  we  are  de- 
scribing. The  east  end  is 
square  externally,  but  in- 
ternally contains  3  shallow 
niches  like  those  on  each 
side  of  St.  Trinite  at  Angers. 
Its  transepts  are  mere  cha- 
pels ;  but  its  most  remarkable 
feature  is  the  convergence  of 
its  sides  towards  the  east ; 
and  as  its  vaiilt  sinks  also 
towards  that  end,  a  false  per- 
spective is  attained,  which 
certainly  at  first  sight  gives 
the  church  an  appearance  of 
greater  length  than  it  really 

possesses.  The  3  aisles  too,  being  of  the  same  height,  add  to  the  effect 
of  space  ;  so  that,  taken  as  a  whole,  this  church  may  be  quoted  as  the 
best  example  known  of  the  system  of  attaining  a  certain  effect  by  these 
means,  and  is  well  worthy  of  study  on  this  'account.     It,  however,  I 


'^ 


13^ 


509. 


Plan  of  Cathedral  at  Poitiers.    Fj-om  Coulier's  Histoire 
de  la  Cathedi-alo  de  Poitiers.    Scale  100  ft.  to  1  in. 


632 


FRENCH  AIICHITECTUJIK. 


Book  III. 


rcifryiT^  t 


think,  admits  of  no  donbt  but  that  the  Northern  architects  were  right 
in  rejecting  all  these  devices,  and  basing  their  efforts  on  better  under- 
stood ;uid  lK)nester  principles. 

It  is  in  this  province  that,  proceeding  from  the  south,  spires  are  first 

found  in  common  use.  The  charac- 
teristic of  the  south  is  the  square 
flat-roofed  tower  or  octagonal  dome. 
In  Anjou,  towers  standing  by  them- 
selves, and  crowned  by  well-pro- 
portioned spires,  seem  early  to  have 
been  introduced,  and  to  have  been 
considered  almost  essential  parts  of 
church  architecture.  The  repre- 
sentation (woodcut  No.  510)  of  that 
attached  to  the  interesting  church 
of  Cnnaialt  on  the  Loire  is  of  the 
most  common  type.  There  is  an- 
other at  Chemille,  almost  exactly 
like  it,  and  a  third  on  the  road  be- 
tween Tours  and  Loohes,  besides 
others  diflfering  only  slightly  from 
these  in  detail.  They  want  the  as 
piring  lightness  aftei-wards  attain- 
ed in  Gothic  spires ;  but  their  de- 
sign and  ornaments  are  good,  and 
their  outlines  well  suited  to  the 
massive  edifices  to  which  they  are 
attached. 

Most  of  the  conventual  build- 
ings attached  to  these  churches  in 
this  province  have  disappeared,  either  during  the  stniggle  with  the 
Huguenots,  or  in  the  later  and  more  disastrous  troubles  of  the  Revolu- 
tion, so  that  there  is  scarcely  a  cloister  or  other  similar  edifice  to  be 
found  in  the  province.  One  or  two  fragments  however  still  exist,  such 
as  the  Tour  d'Evrault.'  This  is  a  conventual  kitchen,  not  luilike 
that  at  Glastonbury,  but  of  an  earlier  age,  and  so  far  different  from 
anything  else  of  the  kind  that  it  was  long  mistaken  for  a  building  of  a 
very  different  class. 

Another  fragment,  though  probably  not  ecclesiastical,  is  the  screen 
of  arches  recently  discovered  in  the  hotel  of  the  Prefecture  at  Angers. 
As  a  specimen  of  elaborate  exuberance  of  barbarous  ornament,  it  is 
unrivalled  even  in  France,  but  is  much  more  like  the  work  of  the 
Normans  than  anything  in  the  neighbourhood.  Owing  to  its  having 
been  so  long  built  up,  it  still  retains  traces  of  the  colouring  with 
which  all  the  internal  sculptures,  at  least  of  this  age,  were  adorued. 

The  deficiency  in  ecclesiastical  buildings  in  this  province  is  made 
up  to  a  great  measure  by  the  extent  and  preservation  of  its  Feudal  re- 


510.    Spire  at  Cunault.     From  Faul trier. 


'  This  building  is  well  illustrated  in  Turnci-'s  Domestic  Architecture. 


Chap.  III.  ANJOU.  1533 

mains,  few  of  the  provinces  of  France  having  so  many  and  such  exten- 
sive fortified  castles  remaining.  Those  of  Angers  and  Loches  are  two 
of  the  fin(;st  in  Franco,  and  there  are  many  others  scarcely  less  magni- 
ficent. Few  of  them,  however,  have  features  strictly  architectural ;  and 
though  the  artist  and  the  poet  may  luxuriate  on  their  crumbling  time- 
stained  towers  and  pictiiresque  decay,  they  hardly  belong  to  such  a 
work  as  this,  nor  aftbid  materials  which  would  advance  our  knowledge 
of  architecture  as  a  fine  art. 


034 


FUENCll  AlUMIITKCrUllE. 


Book  111 


CHAPTER   IV. 
AUVEEGNE. 

CONTENTS. 
Church  iit  Issoire  —  Puy  —  Fortified  clmrch  at  Koyat. 


The  last  of  the  Southern  provinces  wliich  requires  to  be  distinguished 
is  that  of  Auvergne,  one  of  the  most  beautiful  as  well  as  one  of  the 
most  complete  of  the  round  Gothic  styles  of  France.  The  country 
in  which  it  is  found  is  as  distinctly  marked  out  as  the  style,  for  no 
naturalist  can  cross  the  frontier  of  the  territory  without  at  once  being 
struck  by  the  strange  character  of  its  scenery.  It  is  a  purely  volcanic 
country,  to  which  the  recently  extinguished  craters  impart  a  character 
not  found  in  any  other  province  of  France.  Whether  its  inhabitants 
are  of  a  different  race  from  their  neighbours,  has  not  yet  been  investi- 
gated. At  all  events,  they  retain  their  original  characteristics  less 
changed  than  any  other  people  inhabiting  the  South  of  France.  Their 
style  of  architecture  is  distinct,  and  early  reached  a  degi'ee  of  perfec- 
tion which  no  other  in  France  had  then  attained,  and  wliich  has  more 
resemblance  than  we  have  hitherto  found  in  France  to  the  Lombard 

and  Ehenish  architecture.  The  other  styles  of 
Southern  France,  whatever  their  beauties  may 
be,  certainly  never  attained  to  that  degree  of  in- 
dependent completeness  which  enables  us  to  class 
that  of  Auvergne  among  the  perfected  styles  of 
Europe. 

In  the  department  of  Puy  de  Dome  there  are 
at  least  four  churches  of  the  typical  form  of  this 
style,  which  have  been  edited  by  M.  Mallay — those 
of  Issoire,  of  N.  D.  du  Port  at  Clermont,  of  Orci- 
val,  and  of  St.  Nectaire — which  only  differ  from 
one  another  in  size,  and  in  the  arrangement  of 
theii"  apsidal  chapels ;  that  of  Issoire  having  a 
square  central  chapel  inserted  which  is  wanting 
at  Clermont  and  Orcival,  while  St.  Nectaire  has 
only  three  instead  of  four. 

The  largest  of  these  is  that  of  Issoire,  of  which 
a  plan  is  here  given,  from  which  it  will  be  seen 
that  even  it  is  small,  though  beautifully  arranged. 
The  transepts  are  just  sufficiently  developed  to  give  expression  to  the 
exterior,  and  to  separate  the  nave  iTom  the  choir,  which  are  beauti- 
fully proportioned  to  one  another. 


51 1,     t'liurch  at  Jssoire. 

From  Mallay.    Scale  100  ft. 

to  1  in. 


CllAl'.    IV. 


AUVERGNE. 


G35 


512. 


Elevation  of  Church  at  Issoire.    From  Mallay.    Scale  50  feet  to  1  inch. 


-  They  all  possess  central  towers,  raised  on  a  mass  of  masonry  ex- 
tending to  the  whole  width  of  the  church,  which  gives  them  a  breadth 
Oi  base  found  in  no  other 
style.  The  want  of  this  is 
painfully  felt  in  most  of  our 
0'\\Ti  central  spires,  all  which 
need  something  more  to  stand 
upon  than  the  central  roof, 
out  of  which  they  seem  to 
grow ;  but  I  do  not  know 
that  the  difficulty  was  ever 
attempted  to  be  remedied 
anywhere  but  in  Auvergne. 
They  were  intended  to  have 
western  towers,  the  massive 
foundations  for  which  are 
found  in  every  example, 
though  I  believe  that  there  is  no  instance  in  which  these  exist  in  a 
complete  state. 

The  side  aisles  are  always  covered  by  intersecting  vaults,  but  that 
of  the  nave  is  always  a  simple  tunnel  vault,  as  in  the  Southern  styles, 
ornamented  by  occasional  transverse  ribs,  and  in  the  church  at  Issoire 
slightly  pointed. 

To  suppoi't  this  great  vault,  a  semi-vault  is  carried  over  the  side 
aisles — as  shown  in  the  section — ^forming  a  massive  and  perfect  abut- 
ment to  the  thrust  of  the  great  arch ;  besides,  as  before  pointed  out, 
rendering  the  vault  independent  of  a  wooden  covering,  which,  though 
now  in  some  instances  supplied,  was  certainly  not  originally  intended. 
The  defect  of  this  arrangement  is  of  course  evident,  as  compared  with 


513.  Section  of  Church  at  Issoire,  looliing  East.  From  Mallay. 
Scale  50  feet  to  1  inch. 


03  () 


FIJKNCII  AltClllTKCTUIlK. 


Book  III. 


the  Northern  styles,  inasmuch  as  a  clerestory  was  impossible,  and  the 
only  effective  li«;lit  that  conld  he  admitted  was  through  the  side  aisles. 
These  churches,  luiwever,  have  an  approach  to  a  clerestory  not  found 
in  that  at  Ft)ntifr()ide,  before  quoted,  in  having  a  triforium  or  range  of 
arches  opening  into  the  gallery,  which  gave  a  lightness  of  character  to 
the  superstructure,  and  admitted  to  a  certain  extent  a  boiTowed  light. 

Externally,  the  projection  of  the  buttresses  is  slight,  and  they  are 
connected  by  arches,  struck  from  the  same  centres  as  the  windows, 
above  wliich  three  small  arches  relieve  and  ornament  the  upper  part  of 
the  nave.  The  central  arch  of  these  is  pierced  with  the  small  window 
which  lights  the  upper  gallery.  Above  this  is  a  cornice  of  more 
elegance  and  of  greater  projection  than  is  usually  found  in  churches  of 
this  age. 

The  most  beau.tiful  and  most  admired  feature  of  the  style  is  the 
arrangement  of  the  chapels  of  the  chevet  externally. 

In  the  view  given  above  of  St.  Saturnin,  Toulouse  (woodcut  No.  497), 
indeed  in  almost  all  the  churches  of  that  style,  it  will  be  observed  how 
awkwardly  these  chapels  are  stuck  on  as  if  afterthoughts,  without  fol- 
lowing any  of  the  main  lines  of  the  building.  Here,  however,  all  the 
parts  are  pleasingly  subordinated  one  to  the  other,  and  the  whole  so 
grouped  as  to  fijnu  a  design  equal,  if  not  superior,  to  the  galleried  apses 
of  the  German  and  Lombard  churches.  The  place  of  these  galleries  is 
here  supplied  by  a  mosaic  decoration  formed  with  the  different  coloured 
lavas  of  the  extinct  volcanos  of  the  district,  which  gives  not  only  a 
pleasing  local  character  to  the  style,  but  is  interesting  as  the  only  spe- 
cimen of  oxteinal  polychromatic  decoration  now  to  be  found  so  far  to 
the  North.  In  effect,  this  is  perhaps  hardly  equal  to  the  open  galleries 
of  the  German  churches  ;  but  the  expense  must  have  been  considerably 


514.  tilevation  of  Chevet,  Wotrc  Daiue  dc  Pxiy     From  Chapuy.     No  icaU'. 


Chap.  IV. 


auvergnp:. 


637 


less,  and  tho  variety  of  the  mitline  (jf  the  ehevet  arrangement,  as  com- 
l)arccl  with  the  simple  apse,  gives  to  these  churches  some  advantages 
over  tlie  contemporary  Imildings  on  the  Ehine.  Indeed,  as  far  as 
external  decoration  is  concerned,  it  may  be  questioned  whether  the 
French  ever  surpassed  these  ;  and  were  they  carried  out  on  the  same 
scale  as  those  of  Amiens  and  Chartres,  I  am  convinced  they  would  be 
thought  more  beautiful.  It  is  true  the  flying  buttresses  and  pinnacles 
of  the  pointed  style  enabled  the  architects  to  introduce  far  larger  win- 
dows and  gorgeous  decorations  of  painted  glass,  and  so  to  improve  the 
internal  effect  of  their  churches  to  an  immense  extent ;  but  this  was 
done  at  the  sacrifice  of  much  external  simplicity  of  outline  and  pro- 
priety of  effect,  which  we  cannot  but  lament  could  not  be  reconciled 
with  the  requisite  internal  ari-angements. 


515. 


I 'lull  of  Chevet,  Notre  Dame  de  Puy.    From  Chapuy.    No  scale. 


The  age  of  these  churches  is  not  very  well  ascertained.  M.  Mallay 
is  inclined  to  place  them  principally  in  the  10th  century,  though  the 
pointed  form  of  the  vault  at  Issoire  induces  him  to  bring  that  down  to 
the  I2tli  century;  but  we  have  seen  enough  to  know  that  such  a 
pointed  form,  on  the  contrary,  is  more  likely  to  be  ancient  than  the 
rounded  one,  which  requires  better  construction,  although  in  that  age 
it  was  thought  more  beautiful.  My  own  impression  is,  that  they 
belong  generally  to  the  11th  century,  though  some  were  no  doubt 
commenced  in  the  10th,  and  probably  continued  to  the  12th;  but  their 
uniformity  of  style  is  such,  that  not  more  than  one  century  could  have 
elapsed  between  the  first  and  the  last.  Only  one  circular  church,  so 
far  as  I  know,  is  found  in  the  district.  It  is  a  sepulchral  chapel  in  the 
cemetery  at  Chambon,  small  in  size,  being  only  26  ft.  wide  over  all, 
but  elegant  in  its  proportions,  and  showing  the  same  style  of  decora- 
tion as  the  apses  of  tho  larger  churches. 

The  cathedral  of  Puy  en  Veley  is  one  of  the  finest  and  most  inte- 
resting churches  in  this  part  of  France,  but  unfortunately  it  has  not 
been  fully  described.  From  a  careful  elevation  of  the  south  transept, 
pul)lished  at  Toidouse,  it  would  nppear,  as  far  at  least  as  the  decoration 
is  concerned,  to  belong  to  the  style  of  Auvergne  ;  but  if  M.  Maurice's 
description  is  correct,  it  is  one  of  the  largest  of  the  cupola  churches, 


638 


FHENCn  AIlCHITECTUItE. 


Book  III. 


having  eight  domes  from  the  entrance  to  the  eastern  tennination, 
whicli  i.s  sqnai'e  and  without  side  aisles.  Tliis  i)nilding  altogether 
must  }i resent  peculiarities  well  worthy  of  study,  Imt  regarding  these 
it  is  dangerous  to  speak  without  more  information  than  is  now 
attainable. 


516. 


Fortified  Church  at  Royat.    From  Gailhabaud. 


Among  the  exceptional  churches  of  this  district,  one  of  the  most 
interesting  is  that  of  Eoyat,  illustrated  in  woodcut  No.  51 G,  being  a 
specimen  of  a  foii:ified  church,  such  as  are  sometimes,  though  not  fre- 
quently, found  in  France.  That  at  Maguelonne,  quoted  above  (p.  606), 
is  another,  and  there  are  several  others  in  the  South  of  France ;  but 
none  probably  either  so  complete  or  showing  so  many  castellated 
features  as  this.  In  its  ruined  state  we  lose  the  western,  or  possibly 
the  central  tower,  which  might  have  somewhat  restored  its  ecclesiastical 
character ;  but  even  as  it  is,  it  is  a  singidarly  picturesque  and  ex- 
pressive building,  though  it  speaks  more  of  war  and  bloodshed  than 
of  peace  and  goodwill  to  all  men. 


Chap.  V.  FRANKISIl  STYF.E.  039 


CHAPTER  V. 
FRANKISH  STYLE. 

CONTENTS. 
Exceptional  buildings  —  Basse  CEuvre,  Beauvais  —  Decoration. 


Northern  Province. 


The  arcliitecture  of  the  Northern  division  of  France  is  certainly  the 
most  interesting  subject  in  the  whole  history  of  the  Mediaival  styles. 
This  subject  comprehends  the  origin  and  progress  of  that  style  of 
pointed  architecture  which  in  the  13th  century  extended  from  Paris 
as  a  centre  to  the  remotest  corners  of  Europe,  pervading  the  whole  of 
Germany,  Britain,  and  even  Spain  and  Italy.  In  these  countries  it 
probably  obliterated  their  own  peculiar  styles,  and  usurped  their  places, 
so  as  to  become  the  Gothic  style  par  eminence,  and  the  only  one  gene- 
rally understood  under  that  name.  It  has  gained  this  distinction,  not 
perhaps  so  much  from  any  inherent  merit  of  its  own,  as  because  it  was 
the  only  one  of  all  the  Mediteval  styles  which  was  carried  beyond  the 
simple  rudiments  of  the  art,  and  enjoyed  the  advantage  of  being  carried 
out  by  a  powerful  and  united  people  who  had  advanced  beyond  the 
fii'st  elements  of  civilized  society.  It  is  needless  now  to  inquire  whe- 
ther the  other  styles  might  not  have  been  made  as  perfect,  or  more  so, 
had  the  same  amount  of  talent  and  of  time  been  bestowed  upon  them. 
All  we  can  say  is,  that  no  other  style  was  so  carried  out,  and  it  is 
impossible  that  it  should  now  be  attempted,  while  the  pointed  Gothic 
had  the  opportunity  which  the  others  were  deprived  of,  and  became 
the  stylo  of  Europe  during  the  middle  ages.  Its  history  is,  therefore, 
that  to  which  attention  must  always  be  piincipally  directed,  and  fi'om 
which  all  lessons  and  all  satisfactory  reasoning  on  the  subject  must  be 
principally  derived. 

The  three  great  divisions  into  which  the  early  history  of  the  style 
naturally  divides  itself  have  already  been  pointed  out.  I  have  called 
the  central  province  Frankia,  whence  in  the  middle  of  the  12th  cen- 
tury the  pointed  style  issued,  with  the  two  great  subordinate  divisions 
of  Normandy  on  the  one  hand,  and  Burgundy  on  the  other.  In  Nor- 
mandy a  warlike  race  had  raised  themselves  to  power,  and  with  an 
inconsistency  characteristic  of  their  state  of  civilization  devoted  to 
sacred  purposes  the  wealth  they  had  acquired  by  rapine  and  plunder, 
covering  their  province  with  churches,  and  perfecting  a  nxde  style  of 
architecture  singularly  expressive  of  their  bold  and  energetic  cha- 
racter. 


G40 


FEENCII  ARCIIITECTUllE 


Book  III. 


In  Biirgnndy  botli  tlie  style  and  its  history  differed  considerably 
from  this.  From  some  cause  which  has  not  yet  been  explained,  this 
country  became  early  the  favourite  resort  of  hermits  and  of  holy  men, 
who  founded  here  the  great  monastic  establishments  that  spread  their 
influence  not  only  over  France,  but  over  the  whole  of  Europe,  influ- 
encing to  an  immense  extent  all  the  relations  of  European  society  in  the 
middle  ages.  The  culminating  epoch  of  the  architecture  of  Normandy 
and  Burgundy  was  the  11th  century.  In  the  12tli,  the  monarchial 
sway  of  the  central  province  was  beginning  to  be  felt  in  them.  In 
the  13th  it  superseded  the  local  character  of  both,  and  gradually  fused 
them  -ttdth  the  whole  of  France  into  one  great  and  singularly  imiform 
monarchy. 

Latin  Style.' 

Before  proceeding  to  describe  the  local  foims  of  architecture  in 
these  provinces  it  is  necessary  to  say  a  few  words  regarding  a  class  of 

buildings  which  have  not  liitherto 


been  mentioned,  but  which  must 
not  be  passed  over.  These  can- 
not be  included  in  any  other 
style,  and  ai'c  so  nearly  devoid  of 
architectural  features,  properly 
so  called,  that  they  might  have 
been  omitted  but  for  one  con- 
sideration. They  bear  so  re- 
markable a  resemblance  to  the 
earliest  Christian  churches  of 
Rome  on  the  one  hand,  and  to  the 
true  Gothic  on  the  other,  that  we 
cannot  doubt  theii*  being  the 
channel  thi-ough  which  the  latter 
was  derived  from  the  fonner. 
They  are  the  oldest  churches  in 
Northern  France,  which  confirms 
the  above  view. 

The  character  of  this  style 
will  be  understood  from  the  plan 
and  internal  and  external  view 
of  its  typical  example,  the  Basse 
CEuvre  at  Beauvais  (woodcuts 
Nos.  517  and  518).  It  will  be 
seen  that  this  building  consists 
of  a  nave  and  side  aisles,  sepa- 


v^vJ^NW,^<4%^^^^jp^\^Vv^m:4\> 


517. 
From 


Plan  and  Section  of  Basse  (Euvre,  Beauvais.    patcd  from  each  Othcr  by  a  range 
11  AV^oillez,  Monumens  Religieu.x  de  Beauvais.  r-      i    •  i  ,  •  • 

01  plam  arches  resting  on  piers 
without  either  bases  or  capitals ;  on  one  side  the  angles  are  cut  oft", 
so  as  to  give  a  slightly  ornamental  character ;   on  the  other  they  are 


'  "  Stvie  Latin  "  is  tin-  name  qoiioially  adopted  for  tliis  style  by  tlio  French  architects. 


Chap.  V. 


PRANKISH  STYLE. 


(341 


U'ft  scpiare.  The  coiitral  aisle  is  twice  the  width,  and  more  than  twice 
the  height,  of  the  Literal  aisles,  and  has  a  well-delined  elerestoiy ; 
the  roof,  both  of  the  central  and  side  aisles,  is  a  flat  ceiling  of  wood. 
The  eastern  end  has  been  destroyed,  but,  judging  from  other  ex- 
amples, it  probably  consisted  of  3  apses,  one  large  in  the  centre  and 
a  smaller  one  at  the  end  of  each  aisle. 


518. 


External  and  Internal  View  of  Basse  fEuvre.    From  Woillez. 


The  similarity  of  the  foi'iii  of  this  church  to  the  Koman  basilicas 
will  be  evident  in  refening  to  the  representations  of  those  buildings, 
more  especially  that  of  St.  Vincenzo  alle  trefontane  (woodcut  No.  372), 
though  the  details  have  nothing  in  common  except  the  use  of  flat  tiles 
between  the  cornices  of  the  arches,  which  is  singularly  characteristic 
uf  Eoman  masonry.  The  points  in  which  this  is  evidently  the  source 
of  some  important  peculiarities  of  the  true  Gothic  are  the  subordi- 
nation of  the  side  aisles  to  the  central  one,  and  the  perfectly  developed 
clerestory.  These  are  not  found  in  any  of  the  styles  of  France  hitherto 
described. 

Eventually,  as  we  shall  shortly  see,  the  interior  ceiling  of  Gothic 
vaults  came  to  be  of  stone,  protected  externally  by  a  wooden  roof. 
This  stone  vault  was  not,  I  believe,  attempted  before  the  1 1th  century. 
\n  the  meanwhile  wooden-roofed  churches,  like  that  at  Beanvais,  seem 
to  have  been  usual  and  prevalent  all  over  the  north  of  France,  though, 
as  may  be  supposed,  both  from  the  smallness  of  their  size  and  the 
perishable  nature  of  their  materials,  most  of  them  have  been  either 
superseded  by  larger  structures,  or  have  been  destroyed  by  fii'e  or  the 
accidents  of  time. 

M.  Woillez  describes  five  or  six  as  existing  still  in  the  diocese  of 
Beauvais.  and  varying  from  the  6th  or  7th  century,  which  probably  is 

2   T 


(U2 


FRENCH  AECHITECTURE. 


Book  ITT. 


the  (Lite  of  the  Basso  CEuvro,  to  the  beginning  of  the  11th  century; 
ami  if  other  districts  were  carefully  examined,  others  might  be  found. 
Normandy  must  perhaps  be  excepted,  where  the  rude  Nortlimen  seem 
first  to  have  destroj'ed  all  the  churches,  and  afterwards  to  have  rebuilt 
them  with  a  magnificence  they  did  not  before  possess. 

Churches  of  the  same  class,  or  others  at  least  extremely  similar  to 
them,  as  far  as  we  can  judge  from  such  representations  as  have  been 

published,  exist  even  beyond  the 
Loire.  There  is  one  at  Savonieres  in 
Anjou,  and  a  still  more  curious  one 
at  St.  Genereux  in  Vienne,  not  far 
from  Poitiers,  which  shows  in  great 
perfection  a  style  of  decoration  by 
tiiangular  pediments  and  a  peculiar 
sort  of  mosaic  in  brick-work. 

The  same  style  of  decoration  is 
carried  out  in  the  old  church  of 
St.  Jean  at  Poitiers,  which  probably 
is  even  older  than  the  Basse  QEuvre 
of  Beauvais.  The  old  church,  which  now  fonns  the  ante-chi;rch  to 
St.  Front  at  Perigeux,  seems  also  to  belong  to  the  same  class ;  but, 
if  M.  Felix  de  Vemeilh's  restoration  is  to  be  trasted,  it  approaches 
nearer  to  a  Eomanesque  style  than  any  other  of  its  class,  of  which  it 
may  nevertheless  possibly  be  the  most  southern  example. 

It  is  only  very  recently  that  the  attention  of  French  archaeologists 
has  been  turned  to  these  rude  primordial  churches  of  France,  and  con- 
sequently our  knowledge  of  them  is  as  yet  very  limited. 


519. 


Decoration  of  St.  CiL-nereux. 
Giiilbabaiid. 


From 


Chap.  VI. 


NORMANDY. 


643 


CHAPTER    VI. 


NOEMANDY. 


CONTENTS. 
Churches  at  Caen  —  Gothic  vaulting  —  Bayeux. 


^ViTH  one  or  two  slight  exceptions,  the  whole  history  of  the  Konnd- 
arched  Norman  Gothic  is  comprehended  within  a  period  of  less  than  a 
century.  No  building  in  this  style  is  known  to  have  been  even  com- 
menced before  the  year  1050,  and  before  1150  the  pointed  style  had 
superseded  it.  Indeed,  practically  speaking,  all  the  great  and  typical 
examples  are  crowded  into  the  last  50  years  of  the  11th  century.  This 
was  a  period  of  great  excitement  and  prosperity  with  the  Northmen, 
who,  having  at  last  settled  themselves  in  this  fertile  province,  not  only 
placed  their  dukes  on  an  equality  with  any  of  the  powers  then  existing 
in  France,  but  by  their  conquest  of  England  raised  their  chief  to  an 
importance  and  a  rank  superior  to  that  of  any  other  potentate  in  Europe 
except  the  German  emperors  of  that  day,  with  whom  in  fact  they  were, 
both  by  race  and  policy,  more  closely  allied  than  they  were  with  the 
people  among  whom  they  had  settled. 

There  are  two  exceptional  churches  in  Normandy  which  should 
not  be  passed  over  in 
silence :  one  is  a  little 
triapsal  oratory  at  St. 
Wandrille  ;  the  other  a 
similar  but  somewhat 
more  important  church 
at  Querqueville,  near 
Cherbourg,  on  the  coast 
of  Brittany.  Both  are 
rude  and  simple  in  the 
outline  and  ornaments, 
built  with  that  curious 
herring-bone  or  diago- 
nal masonry  indicative 
of  great  age,  and  differ- 
ing in  every  essential 
respect  from  the  works 
of  the  Normans  when 
they  came  into  posses- 
sion of  the  province.  Indeed,  like  the  transitional  churches  last 
described,  these  must  be  considered  as  the  religious  edifices  of  the 

2  T  2 


520. 


Triupsal  CUurch  at  (Juerqucville. 
Normandy. 


From  Dawson  Turner's 


644 


FRENCH  ARCHITECTURE. 


Book  HI. 


inhabitants  before  that  invasion ;  and  if  they  show  any  affinity  wath 
any  other  style,  it  is  to  Belgium  and  (Jeruiany  Ave  lunst  l<jok  for  it 
rather  than  anywhere  else  within  the  boundaries  of  Fi-ance. 

Among  the  oldest-looking  buildings  of  pure  Norman  architecture 
is  the  church  of  Lery,  near  I'ont  de  1' Arche.  It  is  the  only  one,  so  far 
as  I  know,  with  a  simple  tunnel-vault,  and  this  is  so  massive,  and 
rests  on  piers  of  such  nnusnal  solidity,  as  to  give  it  an  appearance  of 
immense  antiquity.  There  is  no  good  reason,  however,  for  believing 
that  it  really  is  older  than  the  chapel  of  the  Tower  of  London,  which 
it  resembles  in  most  respects,  though  the  latter  is  of  somewhat  lighter 
architecture. 

Passing  from  this  Ave  come  to  a  series  of  at  least  five  important 
churches,  all  erected  in  the  latter  half  of  the  11th  century.  The  first 
of  these  is  the  church  of  Jumieges,  the  western  end  of  which  was  prin- 
cipally erected  by  Eobert,  afterwards  Bishop  of  London,  and  finally 
Archbishop  of  Canterbury.  Its  precise  date  is  not  very  well  known, 
though  it  probably  Avas  begun  before  1050,  ,a.nd  certainly  shows  a 
far  ruder  and  less  complete  style  of  architecture  than  any  of  the  later 
churches.  The  naA^e  apparently  ncA' er  was  even  intended  to  be  vaulted  ; 
yet  the  Avails  and  piers  are  far  more 
massiA^e  than  those  of  the  churches  of 
Caen,  or  that  of  BocherA- ille  in  its  imme- 
diate neighbourhood.  This  last  we  know 
to  liaA'e  been  com- 
menced in  the 
year  1050,  and 
completed  1066. 
This  church  still 
retains  in  a  won- 
derful state  of 
completeness  all 
the  features  of  a 
Norman  church  of 

that  age — the  only  part  of  a  more  modem 
date  being  the  tAvo  western  turrets,  Avhich 
are  at  least  a  century  later. 

The  next  of  the  series  is  the  AA^ell-knoAvn 
Abbaye  aux  Hommes,  or  St.  Stephen's,  at 
Caen,    commenced   by   AVilliam   the   Con- 
queror, 1066,  in  gratitude  for  his  victory         .  -..,..;,..,.  ..  ,.  ...... 

at  Hastings,  and  dedicated  11  years  after-  '^S"-i'''1f'^^^?^  /  ^'•'l^'V  1 

wards.     Then  follow  the  sister  church  of  ^     "ftj^'       "^ 

the  Trinite,   or  Abbaye  aux  Dames,  com-  7^, 

menced  in  1083,  and  the  parish  chm-ch  of  4p- 

St.  Nicolas  at  Caen,  begun  in  the  folloAving  Fig.  2. 

A'ear.    These  tAvo  last  were  almost  certainly  ^^i-   I'l^n  of  the  cimrcu  of  st.  Stephen, 

.  ''  Caen.      From    Ramee,    Histoire    de 

completed    AA'ltmn    the    limits    of    the    11th        r Architecture.    Scale  100  ft.  to  1  in. 

century. 

Of  all  these  the  finest  is  St.  Stephen's,  Avhich  is  a  fiist-class  chui'ch, 


Fi-.  1. 


Chap.  VI. 


NOPxMANDY. 


645 


its  extreme  length  being  864  ft.     It  was  not  originally  bo  lung,  being 
terminated  by  an  apse,  as  sliowu  in  the  plan,  wliicli  was  superseded 
about  a  century  afterwards  by  a  chevet,  as  shown  Fig.  2.     This,  how- 
ever, was  an  innovation — all  the  round  Gothic  churches  in  Normandy 
havin"*  apses,  nor  do  1  know  of  a  single  instance  of  a  chevet  in  the 
i>rovince.     This  circumstance   points  rather  to  Germany  than  to  the 
south  of  France  for  the  origin  of  tlie   Norman  style — indeed  all  the 
arrangements    of  this 
church  are  more  like 
those  of  the  Ehenish 
basilicas,  that  of  Spires 
for  example  (woodcut 
No.  449),  than  any  of 
those     churches     we 
have    hitherto    fomid 
within    the   limits    of 
France  itself.    This  is 
more    remarkable     at 
Jumieges    than   even 
here.     None  of  them, 
however,     have     two 
apses,  nor  are  lateral 
entrances     at    all    in 
use  ;  on  the  contrary, 
the   western    end,    oi- 
that  opposite  the  altar, 
is   always,   as   in  the 
true  basilica,  the  prin- 
cipal    entrance.       In 
Normandy   we    gene- 
rally find  this  flanked 
by  two  towers,  whicli 
give  it  a  dignity  and 
importance  not  found 
in  any  tif  those  styles 
we  have  been  examin- 
ing.     These    western 
towers   afterwards    in 
France     became     the 
most    important    fea- 
tures of  the  external 
architecture  of  church- 
es.   It  is  by  no  means 
clear  whence  they  were  derived.    They  are  cei-tainly  neither  Italian  nor 
German,  nor  do  they  belong  to  any  of  those  styles  of  the  southern  pro- 
vinces of  France  which  we  have  been  describing.     The  churches  of 
Auvergne  are  those  which  perhaps  show  the  nearest  approach  to  them. 
On  the  whole  it  appears  most  probable  that  the  western  fronts  of 
the  Norman  churches  were  taken  from  the  facades  of  Germany,  and 


522. 


Western  Fa9ade  of  St.  Stephen,  Caen. 
Brilton's  Normandy. 


From  Pugiu  and 


64G 


FRENCH  AllCUlTECTURE. 


Book  III. 


tho  towers  added  to  give  dignity  to  them.  As  will  be  seen  from  the 
view  (woodcut  No,  522),  in  St.  Stephen's  at  Caen  tlie  feature  is  well 
marked  and  defined ;  for  thougli  the  spires  were  aj^pareutly  added  at 
tho  same  time  as  the  chevet,  the  towers  which  sujjport  them  evidently 
belong  to  the  original  design.  This  may  be  regarded  as  the  prototype 
of  the  fa(,\ades  of  nearly  all  tho  Gothic  cathedrals  of  France.  These 
western  towers  eventnally  superseded  the  attempt  to  raise  the  prin- 
cii)al  external  feature  of  the  churches  on  tho  intersection  of  the  nave 
with  the  transepts,  as  had  been  attempted  in  the  South,  and  made  the 

western  front  the  most  important 
part,  not  only  in  decoration,  but  in 
actual  height.  Here  and  through- 
out the  north  of  France,  with  the 
exception  of  the  churches  at 
Eouen,  the  central  tower  is  low 
and  comparatively  insignificant, 
scarcely  even  aspiring  to  group 
"vvith  those  of  the  western  facade. 
The  arrangement  of  the  inter- 
nal compartments  of  the  nave  of 
this  church  will  be  understood 
from  the  elevation  (woodcut  No. 
523),  where  it  will  be  seen  that 
the  aisles  are  low,  and  above  them 
runs  a  gi'eat  gallery,  a  feature 
common  in  Italy,  but  rare  in  Ger- 
many. Its  introduction  may  have 
arisen  either  from  a  desire  for  in- 
creased accommodation,  or  merely 
to  obtain  height,  as  it  is  evident 
that  an  arch  the  whole  height  of 
the  side  aisles  and  gallery  would 
be  singiilaily  narrow  and  awk- 
ward. This  was  one  of  those  difii- 
culties  which  were  only  got  over 
by  the  introduction  of  the  pointed 
arch ;  but  which,  whenever  at- 
tempted in  the  circular  style,  led 
to  very  uupleasing  and  stilted 
effects.  It  may  however  be,  that 
it  was  suggested  by  the  abutting 
galleries  we  find  so  frequently  used 
in  Southern  churches.  Be  this  as 
it  may,  the  two  stories  of  the  aisles  fill  up  the  height  far  more  pleasingly 
than  could  be  done  by  one,  and  bring  an  abutment  up  to  the  very 
springing  of  the  main  vault  of  the  nave.  Here  another  difficulty  met 
the  architect,  which  was  only  got  over  effectually  by  the  use  of  the 
pointed  arch,  and  was  perhaps,  if  not  the  only,  at  least  the  principal 
cause  of  its  general  intri)ductiun.     It  was  this :  that  an  intersecting 


523. 


Elevation  of  Compartment  of  Nave  of 
St.  Stephen,  Caen.    From  Pugin. 


Chap,  VL 


NOKMANDY. 


(547 


circular  vault  ouly  fits  a  scjuare  compartment  without  stilting  or 
skcwiui;-,  or  using  some  other  contrivance  to  get  over  the  difiiculty.  In 
the  side  aisles  the  compartments  were  practically  always  square,  so  that 
there  was  no  diiliculty  in  them.  The  nave  was,  generally  speaking, 
twice  the  width  of  the  aisles,  so  that  there  also  square  compartments 
might  have  been  obtained,  simply  by  making  every  compartment  con- 
sist of  two  bays.  This  is  what  the  Eomans  would  have  done,  but  such 
an  expedient  would  have  involved  considerable  difficulties.  The  span 
of  the  vaults  raised  over  such  compartments  would  have  been  large 
and  difficult  to  support,  and  great  awkwardness  would  have  arisen 
from  the  total  omission  of  every  alternate  pier  from  the  design  of  the 
roof.  These  difficulties  were  met  by  a  compromise.  The  general 
design  of  the  roof  was  in  squares,  like  that  of  the  aisles  ;  but  a  sort  of 
auxiliary  central  arch  was  carried  up  from  the  intermediate  piers  to 
the  roof,  thus  bringing  these  piers  into  the  design  of  the  nave,  and 
assigning  to  them  a  certain  amount  of  the  support  of  the  vault,  as 
shown  in  the  central  aisle  of  the  nave  (woodcut  No.  523),  whereas 
the  choir  of  the  same  church  shows  the  quadripartite  arrangement, 
Avhich  afterwards  became  universal.'  This  insertion  was  neither 
quite  a  rib,  nor  quite  a  compartment  of  a  vault,  but  something 
between  the  two  ;  and  in  spite  of  all  the  ingenuity  bestowed  upon  it 
in  Geiinany,  France,  and  England,  in  the  lltli  and  beginning  of  the 
t2th  centuries,  never  produced  an  entirely  satisfactory  effect,  till  at 
last  the  pointed  arch  came  to  the 
rescue.  It  is  easy  to  see  from 
the  annexed  diagram  how  the 
introduction  of  the  pointed  arch 
obviated  the  difficulty.  In  the 
fii-st  place,  supi^osing  the  great 
vault  to  remain  circular,  two 
segments  of  the  same  circle,  A  b, 
-  A  c,  carry  the  intersecting  vault 
nearly  to  the  height  of  the  trans- 
verse one,  or  it  could  as  easily  be 
carried  to  the  same  height  as  at 
1).  When  both  were  pointed,  as  at  e  and  f,  it  was  easy  to  make  their 
relative  heights  anything  the  architect  chose,  without  any  forcing  or 
introducing  any  disagreeable  curves.  By  this  means  the  compartments 
of  the  vaults  of  the  central  nave  were  made  the  same  width  as  those 
of  the  side  aisles,  whatever  their  span  might  be,  and  every  compart- 
ment or  bay  was  a  complete  design  in  itself,  without  reference  to 
those  next  to  it  on  either  side. 

But  this  is  anticipating :  the  form  of  the  hexapartite  vault  will  be 


524. 


Diagram  of  Vaulting. 


'  This  arrangement  is  known  by  the  name 
of  hexapartite,  or  scxapartite,  because  the 
compartment  of  the  vault  having  been  di- 
vided into  four  by  the  great  diagonal  arches 
crossing  one  another  in  the  centre  (which 
was  the  quadripartite  arrangement),  two  of 
the  four  quarters  were  again  divided  by  the 


arch  thrown  across  from  one  intermediate 
pillar  to  the  other,  thus  making  six  divisions 
in  all,  though  no  longer  all  of  equal  dimen- 
sions, as  in  the  quadripartite  method.  Both 
these  arrangoineuts  are  shown  in  plan  on 
woodcut  No.  521. 


648 


FRKNCH   AUCIUTECTUIIE. 


Book  III. 


afsssdia 


easily  lUKlrrst.xid  from  the  woodcut  No.  523,  wliich  also  shows  ils 
defects,  which  the  architect  lias  at  St.  8te])lu'irs  ti  led  to  got  over  hy 
a  sort  of  addition  to  one  side  of  his  triforium  windows ;  which  hoAv- 
ever  makes  its  one-sidedness  even  more  apparent. 

During  the  twenty  or  thirty  years  that  elapsed  between  the  huilding 
of  St.  Stephen's  church  and  that  of  the  Abbaye  aux  Dames,  immense 

]3rogress    seems    to   have  been  made  towards 
the  new  style,  as  will  be  seen  from  the  annexed 
elevation  of  one  compartment  of  the  nave  of 
the  latter.     The  great  gallery  is  omitted,  the 
side  aisles  made  higher,  the  piers  lighter  and 
more   ornamental.     The  triforium   is  a   mere 
passage  under  the  upper  windows,  and  so  ma- 
naged as  not  to  intercept  their  light  from  any 
part  of  the  church.    Even  the  vaulting,  though 
in  some  parts  hexapartite,  in  others  shows  a 
great  approach  to  the  quadripartite  vaulting  of 
the  subsequent  age ;  this,  however,  is  obtained 
by  bringing  down  the  main  vault  to  the  level 
of  the  side  vault,  not  by  raising  the  side  arches 
to  the  level  of  the  central,  as  was  afterwards 
done.     The  greatest  change  is  in  the  richness 
and  elegance  of  the  details,  which  shows  great 
progress   towards  the  more  ornamental  style 
that  soon  afterwards  came  into  use. 

The  parochial  church  of  St.  Nicolas  is  natu- 
rally plainer  than  either  of  these  royal  abbeys. 
It  shows  considerable  progress  in  construction, 
and  deserves  far  more   attention  than  it  has 
hitherto  met  with.     It  is  the  only  church,  so 
far  as  I  know,  in  Normandy,  that  retains  the 
original  external  covering  of  its  apse.     This 
consists,  as  shown  in  the  Avoodcut  (No.  52G),  of 
a  high  pyramidal  roof  of  stone,  following  to  the 
eastward  the  polygonal  form  of  the  apse,  and  extending  one  bay  toAvards 
the  west.     From  an  examination  of  the  central  tower,  it  is  clear  that 
this  Avas  not  the  original  pitch  of  the  roof  of  the  church.     This  was 
nearly  as  Ioav  in  all  Norman  churches  as  in  those  of  Auvergne.     Here 
it  was  a  sort  of  semi-spire  placed  over  an  altar,  to  mark  externally  the 
importance  of  the  part  of  the  church  beneath  it.     In  appearance  it  is 
identical  with  the  polygonal  cones  at  Loches,  mentioned  before.    At 
Bourges,    and   elsewhere   in  France,    similar   cones   are   found  over 
chapels  and  altars  ;  but  in  most  instances  they  have  been  removed, 
probably  from  some  defect  in  construction,  or  from  their  not  harmo- 
nizing with  the  wooden  roofs  of  the  rest  of  the  church.     They  were  in 
fact  the  originals  of  the  spires  which  afterwards  became  so  much  in 
vogue,  and  as  such  their  history  would  be  interesting,  if  properly 
inquired  into. 

The  cathedral  of  Bayeux,  as  noAV  standing,  is  considerably  more 


525.    Compartment,  Al)baye  des 
Dames,  Caen.    From  Piigin. 


Chap.  VI. 


N01f]\IANDY. 


(549 


52G. 


East  End  of  St.  Nicolas,  (laen.     From  Dawson  Turner's  Normandy. 


modern  than  either  of  these  ;  no  part  remaining  of  the  church  of  Odo, 
the  brother  of  the  Conqueror,  except  the  lower  part  of  the  western 
towers,  and  a  crypt,  which  is  still  older.  The  pier  arches  of  the  nave 
belong  to  the  first  half  of  the  12th  century,  the  rest  of  the  church  to 
the  rebuilding,  which  was  commenced  1157,  after  the  town  had  been 
burnt,  and  the  cathedral  considerably  damaged,  by  the  soldiers  of 
Henry  I.  At  this  time  the  ajose  was  removed  to  make  way  for  a 
chevet,  which  is  one  of  the  most  beautiful  specimens  of  early  pointed 
Gothic  to  be  found  in  France,  and  far  surpasses  its  rival  in  the  Abbaye 
aux  Ilommes  at  Caen.  In  the  church  at  Caen,  the  alteiation  was 
probably  made  to  receive  the  tomb  of  the  Conqueror,  when  that  venera- 
tion began  to  be  shown  to  his  remains  which  was  denied  to  himself 
when  dying.  Here,  however,  the  same  motive  does  not  seem  to  have 
existed,  and  it  is  more  probable  that  the  extension  was  caused  by  the 
iuimeiise  increase  of  the  priesthood  in  the  course  of  the  11th  and  12th 
centuries,  requiring  a  larger  choir  for  their  accommodation.  AVe 
know  from  the  disposition  of  the  choir,  that  the  nave  originally  had 
a  great  gallery  over  the  side  aisles,  and  consequently  a  low  clerestory. 
Riit  before  it  was  njbuilt  in  the  end  of  the  12th,  or  beginning  of  the 
13th  century,  tlio   mania  for  painted  glass  had  seized  on  the  French 


G50 


FRENCH  ARCHITECTURE. 


Book  III. 


527. 


Lower  Compartment,  Nave, 
Bayeux.    From  I'ugin. 


architects,  and  all  architectural  propriety  was  sacrificed  to  this  mode 
of  decoration.  In  the  present  instance  we  cannot  help  contrasting 
the  solid  grandeur  of  the  hasement  with  the  lean  and  attenuated  forms 
of  the  superstructure,  though  this  attenuation  was  carried  to  a  much 

greater  extent  afterwards. 

The  diapering  of  the  spandrils  of  the 
lower  arches  is  another  feature  worthy  of 
remark,  as  illustrating  the  liistoiy  of  the 
style.  Before  painted  glass  was  introduced, 
the  walls  of  all  churches  in  Northern  Europe 
were  covered  with  fresco  or  distemper  paint- 
ings, as  was  then,  and  is  to  the  present  day, 
the  case  in  Italy.  But  when  coloured  win- 
dows came  into  use,  the  comparative  dulness 
of  the  former  mode  of  decoration  was  imme- 
diately felt,  and  the  use  of  colour  confined  to 
the  more  brilliant  transparent  material.  It 
was  necessary  to  find  a  substitute  for  the  wall 
painting,  and  the  most  obvious  expedient  was 
that  of  cai-Adng  on  the  stone  the  same  patterns  wloich  it  had  been  custom- 
ary to  paint  on  them.  An  attempt  was  made,  indeed,  to  heighten  the 
effect  of  this  cai-ving  by  inlaying  the  lines  wdth  coloured  mastic  or  ce- 
ment ;  but  the  process  was  soon  found  to  be  not  only  very  expensive  but 
very  ineffective,  and  gave  way  aftenvards  to  sculptured  figures  in  tra- 
ceried  pannels.  These  ornaments  easily  filled  up  the  very  small  spaces 
of  Avail  that  were  not  occupied  either  by  the  windows,  now  greatly  en- 
larged, or  the  constructive  supports  of  the  building.  Now,  however, 
that  colour  is  gone  both  from  the  walls  and  the  windoAvs,  this  diaper- 
ing gives  a  sing-ularly  rich  and  pleasing  effect  to  the  architecture  of 
the  lower  story,  and  combined  Avith  the  massiveness  and  A-aried  rich- 
ness of  the  piers  themseh^es,  renders  this  a  nearly  unique  specimen  of 
a  NoiTuan  arcade,  and  one  of  the  most  beautiful  that  has  come  down 
to  us. 

These  examples  are,  it  is  hoped,  sufficient  to  make  knoA^^l  the  general 
characteristics  of  a  style  which  is  at  the  same  time  of  great  interest  to 
the  English  reader  from  its  proximity  to  our  shores,  and  also  from  its 
influence  ofi  our  OAvn,  and  is  moreover  comparatively  so  familiar  as  to 
require  less  illustration  than  many  others.  Besides  the  examples 
aboA^e  described,  many  other  specimens  of  Norman  architecture  might 
have  been  giA^en,  filling  up  the  details  of  the  series,  from  the  rude 
simplicity  of  Jumieges  to  the  elaborate  richness  of  the  nave  of  Bayeux, 
and  shoAving  a  rapidity  of  progi'ess  and  boldness  in  treating  the  subject 
hardly  sui^Dassed  in  the  succeeding  age  ;  but  still  Avith  all  its  dcA^elop- 
ments  it  can  only  be  considered  as  a  first  rude  attempt  to  form  a  style 
of  architecture  which  was  superseded  before  its  principles  began  to  be 
understood,  and  lost  before  it  had  received  any  of  those  finishing 
touches  which  form  the  great  element  of  beauty  in  all  the  more  per- 
fect styles. 


CJiAi'.  VII.  BURGUNDY.  651 


CHAPTER    VII. 
BUEGUNDY. 

CONTENTS. 
Abbeys  of  Tounius  and  Cluny  —  Cathedral  of  Autun  —  Church  of  St.  Menoux, 


The  causes  whicla  led  to  the  display  of  architectural  magnificence 
during  the  11th  and  12th  centuries  in  the  proAdnce  of  Burgundy  were, 
as  before  remarked,  widely  different  from  those  which  produced  the 
same  result  in  Kormandy.  It  was  not  in  this  instance  that  a  series 
of  brilliant  conquests  raised  a  line  of  princes  to  power,  and  enabled 
them  to  adorn  their  province  with  splendid  churches,  and  other  evi- 
dences of  material  wealth. 

The  dukes  of  Burgundy  in  this  age  had  not  yet  taken  that  rank 
among  their  compeers  to  which  they  aftei-wards  attained.  But  to  make 
up  for  this,  the  country  seems,  from  the  time  at  least  when  St,  Gall 
and  Columban  settled  themselves  at  Luxeuil  till  late  in  the  middle 
ages,  to  have  been  the  first  and  principal  seat  of  those  great  monastic 
establishments  which  had  so  overwhelming  an  influence  on  the  faith 
and  forms  of  those  times, 

Why  this  province  should  have  been  particularly  selected  for  this 
purpose  is  by  no  means  clear.  Wo  must  go  either  to  India  in  the 
flourishing  period  of  Buddhism,  or  to  Thibet  in  the  present  day,  to  find 
anything  analogous  to  the  monastic  establishments  of  the  11th  cen- 
tuiy  in  this  district.  All  these  monasteries  have  now  passed  away, 
and  few  have  left  even  any  ruins  to  attest  their  fonner  gi'eatness  and 
magnificence.  The  great  basilica  of  Cluny,  the  noblest  church  of  the 
11th  century,  has  been  wholly  removed  within  the  last  sixty  years, 
Claii-vaux  was  first  rebuilt  in  the  style  of  the  Eenaissance,  then 
finally  swept  away  within  the  last  few  years.  Citeaux  perished 
earlier,  and  little  now  remains  to  attest  its  former  greatness.  Luxeuil 
is  an  obscure  village.  The  destruction  of  the  church  of  St,  Benigne, 
at  Dijon,  has  already  been  referred  to,  and  it  would  be  easy  to  swell 
the  catalogue  of  similar  consequences  of  the  great  Eevolution. 

Tournus  still  remains,  and  at  Vezelay  fragments  exist,  Charlier, 
Avallon,  Autun,  Langres,  and  Besan^on,  still  possess  in  their  cathe- 
drals and  churches  some  noble  remnants  of  Burgundian  architec- 
ture. Besides  these,  there  are  numerous  parish  churches  and  smaller 
edifices  which  would  easily  enable  us  to  make  up  a  history  of  the 
style,  were  they  carefully  examined  and  drawn.  Burgundy  is,  how- 
ever, a  terra  i</nota  to  the  scientific  antiquary,  and  very  little  has  yet 
been  done  either  to  describe  or  elucidate  its  architectural  history, 


652 


FRENCH  ARCHITECT  UKE. 


Book  HI. 


tliDUgh  enough  to  show  the  principal  eharacteristic  features  of  the  style 
of  architectnro  which  there  prevailed. 

The  church  of  St.  Benigne  at  Dijon,  mentioned  above,  was  one  of 
the  oldest  in  Burgundy,  and  probably  an  excellent  type  of  the  style  t)f 
that  country.  Bvit  its  total  destruction  and  the  insufficiency  of  the 
plates  published  by  Doni  Plancher  prevent  anything  like  a  satisfac- 
tory study  of  it.  The 
abbey  church  of  Tour- 
nus  is  perhaps  nearly  as 
old.  Its  antiquity  is 
manifested  by  the  rude- 
ness both  of  its  design 
and  execution.  The 
nave  is  separated  from 
the  aisles  by  plain  cy- 
lindrical columns  with- 
out bases,  the  capitals 
of  which  are  joined  by 
circular  arches  at  the 
height  of  the  vaults  of 
the  aisle.  Fiom  the 
capitals  rise  dwarf  co- 
lumns supporting  arch- 
es thrown  across  the 
nave.  From  one  of  these 
arches  to  the  other  is 
thrown  a  tunnel  vault, 
which  thus  runs  the 
cross  way  of  the  build- 
ing ;  being,  in  fact,  a 
series  of  arches  like 
those  of  a  bridge  extend- 
ing the  whole  length  of 


"■^~-'^— ^"-    -—- 'r'""^p^33^fesu^  — ^  •  "^   •-        the   nave.      This   is,   I 

528.  View  of  Intenor  of  Abbey  at  Toumus.  believe,  the  only  knOWn 

From  Taylor  and  Isodior.  '      <.   i  • 

instance  of  this  arrange- 
ment, and  is  interesting  as  contrasting  with  the  longitudinal  tunnel 
vaidts  so  common  both  in  this  province  and  the  South. 

It  is  a  curious  instance  of  an  experiment  whose  object  was  the 
getting  over  the  difficulties  which  were  afterwards  removed  b}'-  the 
invention  of  the  intersecting  arch.  In  the  mean  time  this  Tournus 
vault  offered  some  advantages  well  worthy  of  consideration.  The  first 
of  these  was  that  the  thrust  of  the  vault  was  wholly  longitudinal,  so 
that  only  the  supporting  arches  of  the  transverse  vaults  required  to  be 
abutted.  These  being  low  and  in  a  well-defined  direction  were  easily 
provided  for.  Another  advantage  was,  that  it  allowed  of  a  large  and 
well-defined  clerestory,  which,  as  we  have  seen,  was  impossible  with 
the  longitudinal  vaults.  On  the  other  hand,  the  artistic  awkwardness 
of  the  plan  was  a  fauil  objection,  which,  instead  of  conducting  the  eye 


Chap.  VII. 


BURGUNDY. 


G53 


pleasingly  along  the  vault,  oftercd  only  a  succession  of  intcrruptit 
lo  the  perspective. 

In  the  nave  of 
this  church  all  the 
arches  are  circular; 
in  the  choir,  which 
dates  early  in  the 
1 1th  century,  if  not 
before,  and  which 
is  perhaps  older 
than  the  nave,  the 
great  transverse 
arches  are  slightly 
pointed,  and  sup- 
port at  the  inter- 
section a  dome, 
Avhich  forms  the 
most  beautiful  fea- 
ture in  the  church. 

The  pride  of 
Burgundy  was  the 
great  abbey  church 
of  Cluny,  which, 
with  its  narthex  or 
ante-church,  mea- 
sured 580  ft.  in 
length,  or  consi- 
derably more  than 
any  other  church 
erected  in  France 
in  any  age.  Its 
nave  was  through- 
out 37  ft.  G  in.  in 
width,  and  it  had 
double  side  aisles, 
making  the  total 
internal  width  120 
ft.,  and  the  whole 
area  covered  by  it 
was  upwards  of 
70,000  ft.  Nor  do 
even  these  colossal 
dimensions  convey 
an  adequate  idea 
of  its  magnificence. 
The  style  through- 
out was  solid  and 
grand,  and  it  must 

have     possessed     a  ^"^'    I'l'*"  of  Ab)>ey  (;iiuich  at  Cluny.    Kiom  Lorain's  Ilistoirc  de 

•'•  I'Alibaye.    Scale  10(Jft.  (o  l  in. 


ins 


654 


FRENCH  ARCHITECTURE. 


Book  HI. 


degree  of  massive  magnificence  which  we  so  frequently  miss  among 
the  more  elegant  lieanties  of  subsequent  erections. 

The  semi-dome  of  the  chevet  was  supported  by  eight  noble  columns, 
thi-ough  which  were  seen  in  perspective  a  circle  of  five  apsidal  chapels. 
Externally  the  roof  was  crowned  by  five  larger  and  three  smaller 
towers ;  and  the  whole  was  carried  up  solidly  to  a  height  unrivalled 
among  the  buildings  of  this  age.  AVhat  added  to  its  interest  was, 
that  the  church  at  least  was  at  the  time  of  its  destmction  an  almost 
unaltered  specimen  of  the  architecture  of  the  11th  and  12th  centuries, 
having  been  commenced  in  1089  b}-  St.  Hugues,  and  dedicated  1131. 
The  narthex  or  ante-chapel,  though  somewhat  more  modem,  was  pro- 
bably completed  within  the  limits  of  the  12th  centuiy.  These  dates 
have  been  disputed,  but  principally  on  account  of  the  theories  pre- 
valent regarding  the  origin  of  the  pointed  arch.  This  feature  was 
used  here,  as  it  is  found  elsewhere,  in  all  the  pier  arches  separating 
the  nave  from  the  aisles — the  vaulting  of  the  aisles  having  probably 
been  also  pointed,  while  the  great  vault  of  the  church  is  a  plain  tunnel 
vault  A\-ith  merely  transverse  ribs  on  its  siu-face.  That  of  the  narthex 
is  a  transverse  vault  of  a  later  date,  but  singularly  climisy  in  its  con- 
struction. AVhether  it  had  a  clerestory  or  not,  is  not  quite  clear  from  such 
drawings  as  we  possess ;  but  if  not,  there  certainly  was  a  doxible  galleiy 
throughout,  the  upper  range  of  which,  if  not  both,  sei-ved  to  admit  light. 
"What  the  exact  ordinance  of  this  church  was,  we  should  hardly  be 

able  to  make  out  from  the  representations 
-#-1'  -4  ^    w  ^®  possess,  were  it  not  that  some  other 

contemporary  churches  in  the  same  style 
still  remain  to  us.  Among  these,  one  of 
the  most  perfect  is  the  cathedral  at  Au- 
tun,  formerly  the  chapel  of  the  dukes  of 
Burgund}'',  commenced  about  the  year 
1 060,  and  consecrated  1132.  The  arrange- 
ment of  its  nave  is  extremely  similar  to 
that  of  Clun}-,  with  these  differences,  that 
at  Autun  the  great  vault  is  slightly 
pointed,  and  that  attached  to  the  piers  of 
the  nave  are  pilasters  instead  of  three- 
qxiarter  colmnns,  as  at  Cluny.  In  the 
ante-chiirch,  however,  at  the  latter  place, 
the  same  pilastered  arrangement  occurs. 
This  is  the  characteristic  of  the  true  Bui-- 
gundian  stjde,  and  so  peculiar  is  it,  and 
so  classical,  that  some  antiquaries  have 
not  hesitated  to  consider  it  as  a  bad  imi- 
tation of  Gothic  foi-ms  belonging  to  the 
15th  or  16th  centuries.  In  fact  its  fluted 
columns  or  pilasters,  their  Corinthian 
capitals,  and  the  whole  arrangement  are  so  eminently  classical  as 
almost  to  justify  the  doubt  in  those  who  are  not  familiar  Avith  the 
history  of  the  southern  styles  of  France.     There  can,  however,  be  no 


530.    View  in  Aisle  at  Autun.    From 
Chapuy,  Cathedrales  Frau^aises. 


ClIAP.  VII. 


BURGUNDY. 


C55 


(loiilit  as  to  tho  age  of  these  examples,  and  as  little  as  to  the  models  from 
which  they  are  copied ;  i'oi'  in  this  very  city 
of  Antnii  we  have  two  l\onian  gateways  (one  re- 
presented in  woodcut  No.  273),  and  there  are 
others  at  Langres  and  elsewhere,  which,  except 
the  pcnnted  arch  and  other  constrnctive  pecu- 
liarities, are  almost  identical  with  the  style  of 
these  cluxrches.  Whether  fi'om  want  of  fami- 
liarity with  this  style,  or  from  whatever  cause, 
it  certainly  is  not  pleasing  to  our  eyes,  and  we 
turn  with  pleasure  to  the  ruder  but  more  pur- 
pose-like inventions  of  the  more  purely  Gothic 
architecture  of  the  same  age. 

Among  these  the  province  affords  no  more 
beautiful  specimen  than  the  nave  of  Vezelay, 
which  possesses  all  the  originality  of  the  Nor- 
man combined  with  the  elegance  of  the  South- 
ern styles.  In  this  specimen  the  pier  arches 
are  wide  and  low,  there  is  no  triforium  of  any 
sort,  and  the  window\s  are  small.  The  vaidt  is 
formed  by  immense  transverse  ribs,  crossing 
from  pier  to  pier,  and  forming  square  com- 
partments, divided  each  by  plain  intersecting  arches  without  ribs, 
rising  considerably  in  the  centre.  This  certainly  is  an  improvement 
on  the  vault  at  Cluny,  but  cuts  the  roof  too  much  up  into  divisions. 
Perhaps  its  greatest  defect  is  its  want  of  height,  being  only  60  ft.  in 
the  centre,  while  the  total  width  is  86  ft.  from  wall  to  wall.  But  the 
details    of  the   whole 


531. 


View  in  Nave  at  Autun. 
From  Cliapuy. 


are    so 
great 


elegant 


as  m 
measure   to   re- 
deem these  faults. 

The  narthex,  or 
ante-church,  resem- 
bles that  at  Cluny 
both  in  its  import- 
ance and  in  being 
somewhat  more  mo- 
dern than  the  church 
itself.  Here  it  dates 
from  the  beginning  of 
the  12th  century,  while 
the  nave  seems  wholly 
to  belong  to  the  11th. 
It  is  an  extremely  in- 
structive example  of 
the  }»rogress  of  vaulting.  It  has  the  bold  transverse  ribs,  and  the  2)lain 
intersecting  vaults,  which  are  here,  in  accordance  with  tho  Southern 
practice,  abutted  by  the  arches  of  the  galleries.  In  the  walls  of  the 
galleries  arc  windows  large  enough  to  admit  a  considerable  portion  of 


5'S2.    Scttion  of  NartUex  at  Vezolay.      From  Didron's  Annales 
Archeologiques. 


GbO 


FRENCH  ARCHITECTURE. 


Book  III. 


light.  But  the  vaults  are  here  fast  losing  their  original  purpose.  The 
central  one  is  covered  by  a  wooden  roof.  An  arched  constniction 
supports  the  solid  roof  over  the  side  aisles,  but  the  central  vault  is 
covered  by  a  wooden  roof,  so  that  the  stone  vault  has  become  a  mere 
ceiling,  leaving  only  one  easy  step  to  the  completion  of  the  plan  of 
Gothic  roofing.  This  step  was  to  collect  the  vaults  of  the  side  gal- 
leries into  a  mass  over  each  pier,  and  use  them  as  flying  buttresses, 
and  to  employ  wooden  roofs  everywhere,  wholly  independent  of  the 
vaults  which  they  covered. 

Yezelay  is  one  of  the  most  beautiful  of  the  remaining  churches  of  its 
age  in  Burgundy,  notwithstanding  that  the  choir,  which  is  a  chevet  in 
the  early  pointed  stjde,  like  that  at  Caen  and  Bayeux,  rather  disturbs 
the  harmony  of  the  whole. 

Among  the  remaining  churches  of  this  class,  the  cathedral  at  Be- 
san^on  is  one  of  the  few  double  apse  churches  of  France,  and  in  plan 
at  least  very  much  more  like  what  we  find  on  the  banks  of  the  Ehine. 

Another  veiy  interesting  church  is  that  of  Ainay,  at  Lyons,  which 
in  its  older  parts  bears  considerable  similarity  to  that  of  Toumus, 
though  less  rude  in  details.  Like  that  church  it  possesses  pointed 
arches,  which  I  see  no  reason  for  assuming  to  be  subsequent  to  the 
beginning  of  the  11th  century. 

The  cathedral  at  Vienue,  mentioned  above,  might  from  some  of  its 
details,  particularly  the  form  of  the  pier  arches,  be  fairly  classed  \\n,th 
this  style,  showing  the  fluted  pilasters  and  other  classical  adjuncts 
found  here.     These  peculiarities  are  common  both  to  this  and  the  Pro- 


S33. 


East  End,  SL  Menoux.    From  Allier,  TAncien  Bourbonnais. 


Chap.  VII. 


BURGUNDY. 


057 


vcncj'al  style,  but  the  boundary  between  them  is  by  no  means  clearly 
defined. 

A  little  beyond  the  limits  of  the  province,  on  the  northern  border, 
wo  find  the  church  of  St.  Menoux,  belonging  in  many  of  its  details 
certainly  to  the  style  we  are  describing.  This  is  most  distinctly 
observable  in  the  exterior  of  the  apse  of  the  chevet,  which  it  is  rare  to 
find  unaltered ;  here  it  is  surrounded  by  a  series  of  pilasters  of  rude 
classical  design,  which  give  it  a  peculiar  local  character.  Internally 
too,  its  chevet  (woodcut  No.  534)  is  remarkably  elegant,  though  less 


534. 


Chevet,  St.  Menoux.     i'loui  AUier. 


Burgundian  in  style.  It  shows  to  what  an  eitent  the  stilting  of  round 
arclies  could  be  used  to  overcome  the  difficulty  of  combining  arches 
of  different  spans,  but  all  requiring  to  be  carried  to  the  same  height. 
Like  all  the  old  churches  of  the  province,  it  possesses  a  large  and 
important  narthex,  here  the  oldest  part  of  the  cliurch,  and  a  rude  and 

2  u 


()58  KlJENCIl  AI!CIHTECTTII!K.  T-ook  JTT. 

characteristic   specimen  of  a  stylo  of  arcliitccturo  that  can  hardly  bo 
later  than  the  10th  centuiy. 

These  feAv  specimens  must  suffice  to  define  a  style  which  well 
deserves  a  volume  to  itself,  not  only  on  account  of  its  own  architectural 
merit,  but  from  the  enormous  influence  exercised  both  by  the  style 
and  by  its  monastic  founders  on  the  civilization  of  Europe  in  the  age  to 
which  it  belongs.  During  the  11th  and  12th  centuries  Cluny  was 
more  important  to  France  than  Paris.  Its  influence  on  the  whole  of 
Europe  was  second  only^  to  that  of  Eome — civilizing  barbarians  by 
its  missionaries,  withstanding  the  feudal  nobility,  and  in  many  ways 
counteracting  the  ferocity  of  the  times. 


Chap.  VI 11.  FliAXKIA.  059 


CHAPTER   VIII. 
FRANKISH   ARCHITECTURE. 

CONTENTS. 
Historical  notice  —  The  pointed  arch  —  Freemasonry  —  Mediaeval  architects. 


Frankia. 

The  architectural  history  of  the  central  or  Frankish  province  is 
widely  different  from  that  of  any  of  tlnise  we  have  yet  examined. 
It  is  true  Paris  was  nominally  the  capital  of  France,  and  in  the  time 
of  Charlemagne  had  been  the  centre  of  a  great  and  powerful  empire. 
His  reign,  however,  seems  to  have  been  the  last  expiring  effort  of  a  pre- 
vious civilization,  rather  than  the  foundation  of  a  new  and  progressive 
state  of  affairs.  After  liis  death  a  period  of  anarchy  ensued  ;  and  wliat 
with  the  weakness  of  the  kings,  the  disorganizati<jn  of  the  people,  and 
the  ravages  of  the  Northmen  and  other  barbarians,  no  part  of  France 
was  in  a  less  satisfactory  position  for  the  cultivation  of  the  arts  of 
peace  than  that  which  might  have  been  expected  to  take  the  lead  in 
all.  Thus,  while  the  very  plunder  of  the  central  province  enabled 
the  Normans  to  erect  and  sustain  a  powerful  state  on  the  one  side,  and 
to  adorn  it  with  monuments  which  still  excite  our  admiration,  and 
the  organization  of  the  monks  of  Burgundy  on  the  other  hand  enal  )lcd 
them  to  cultivate  the  arts  of  peace  to  an  extent  hardly  known  before 
their  time  in  Northern  Europe,  Central  France  remained  incapable 
even  of  self-defence,  much  more  of  raising  monuments  of  splendour 
and  art. 

There  are  no  doubt  buildings  in  the  round  Gothic  style  in  this 
province,  but  they  are  few  and  insignificant  compared  with  those  we 
have  been  describing,  either  in  the  South  or  in  Normandy  and  Bur- 
gundy. Even  in  Paris  the  great  church  of  St.  Germain  des  Pres,  tlie 
burial-place  of  the  earlier  kings,  and  apparently  the  most  splendid 
edifice  of  the  capital,  was  not  more  than  50  ft.  in  width  by  2<^0  in 
length  before  the  rebinlding  of  its  chevet  in  the  pointed  style,  and 
possessed  no  remarkable  features  of  architectural  display.  St.  Gene- 
vieve was  even  smaller  and  less  magnificent ;  and  if  there  was  a  cathe- 
dral, it  was  so  insignificant  that  it  has  not  been  mentioned  by  any 
contemporary  historian. 

Several  of  the  provincial  capitals  had,  probably,  cathedrals  of  some 
extent  and  magnificence.  All  these,  however,  were  found  so  unsuited 
to  the  splendid  tast(;s  of  the  12th  and  13th  centuries,  that  they  were 
pulled  ddwn  and  rebuilt  on  a  more  extended  scale ;  and  it  is  only  from 

2  u  2 


r.fiO  FRENCH  AKCHITECTURE.  Book  III. 

little  fragmentary  portions  of  village  churches  that  we  learn  that  the 
roimd  Gothic  style  was  really  at  one  time  prevalent  in  the  province, 
and  possessed  features  according  to  its  locality  resembling  those  of  the 
neighbouring  styles.  So  scanty  indeed  are  such  tiaces,  that  it  is 
hardly  worth  Avhile  to  recapitulate  here  the  few  observations  that 
might  occur  on  the  I'ound  Gothic  stjdes  as  found  within  the  limits 
of  the  province." 

This  state  of  aifairs  continued  down  to  the  reign  of  Louis  le  Gros, 
1108-1130,  under  whom  the  monarchy  of  France  began  to  revive. 
■  This  monarch,  by  his  activity  and  intelligence,  restored  to  a  consider- 
able extent  the  aiithority  of  the  central  power  over  the  then  inde- 
pendent vassals  of  the  crown.  This  was  carried  still  further  under  the 
reign  of  his  successor,  Louis  le  Jeune,  though  perhaps  more  was  owing 
to  the  abilities  of  the  Abbe  Suger  than  to  either  of  these  monarchs. 
He  seems  to  have  been  one  of  those  great  men  who  sometimes  appear 
at  a  crisis  in  the  history  of  their  country,  to  guide  and  restore  what 
othei-wise  might  be  left  to  blind  chance  and  perish  for  want  of  a 
master  mind.  Under  Philip  Augustus  tlie  country  advanced  with 
giant  strides,  till  under  St.  Louis  it  anived  at  the  summit  of  its  power. 
For  a  century  after  this  it  sustained  itself  by  the  impulse  thus  given 
to  it,  and  with  scarcely  an  external  sign  of  that  weakness  which 
betrayed  itself  in  the  rapidity  with  which  the  whole  power  of  the 
n9,tion  crumbled  to  pieces  under  the  first  rude  shock  sustained  at 
Crecy  from  the  hand  of  Edward  III. 

More  than  a  century  of  anarchy  and  confvision  followed  this  great 
event,  and  perhaps  the  period  of  the  English  wars  may  be  considered 
as  the  most  disastrous  of  the  whole  history  of  France,  as  the  previous 
two  centuries  had  been  the  most  brilliant.  When  she  delivered  herself 
from  these  troubles,  she  was  no  longer  the  same.  The  spirit  of  the 
middle  ages  had  passed  away.  The  simple  faith  and  giant  energy  of 
the  reigns  of  Philip  Augustus  and  St.  Louis  were  not  to  be  found 
under  Louis  IX.  and  his  inglorious  successors.  With  the  accession  of 
Francis  I.  a  new  state  of  affairs  succeeded,  to  the  total  obliteration  of 
all  that  had  gone  before,  at  least  in  art. 

The  improvement  of  architecture,  keeping  pace  exactl}^  with  the 
improved  political  condition  of  the  land,  began  with  Louis  le  Gros, 
and  continued  till  the  reign  of  Philip  of  Valois,  It  was  during  the 
two  centuries  comprised  within  this  period  that  the  pointed  archi- 
tecture was  invented,  which  became  the  style,  not  only  of  France,  but 
of  all  Europe  diiring  the  middle  ages  ;  and  is,  par  excellence,  the  Gothic 
style  of  Europe.  The  cause  of  this  pre-eminence  is  to  be  found  partly 
in  the  mere  accident  of  the  superior  power,  at  the  critical  period,  of 
the  nation  to  which  the  style  belonged,  and  also  because  it  was  foimd 
the  most  fitted  to  carry  out  ceiiain  religious  principles  and  decorative 


'  The    Church    of  St.    Remi    at    Rheiins  ]t  nevertheless  retains  the  outlines  of  a  vast 

ought  perhaps  to  be  treated  as  an  exception  and  noble  basilica  of  the  early  part  of  the 

to  this  assertion:  it  has,  however,  been  so  11th  century,  presenting  considerable  points 

much    altered    in    more    modern    times    as  of  similarity  to  those  of  Burgundy. 
almost  to  have  lost  its    original   character. 


Chap.  VIII.  FRANKIA.  661 

notions,  which  were  prevalent  at  the  time,  and  which  will  bo  noted  as 
we  proceed. 

The  style  therefore  with  which  this  chapter  is  concerned  is  that 
which  commenced  with  the  hnildingof  the  Abbey  of  St.  Denis,  by 
Suger,  A.D.  11-14,  which  cidminated  with  the  building  of  the  Ste. 
Chapelle  of  Paris  by  St.  Louis,  1 244,  and  which  received  its  greatest 
amount  of  finish  at  the  completion  of  the  choir  of  St.  Ouen  at  Eouen, 
by  Mark  d'Ai'gent,  in  1339.  There  are  pointed  arches  to  be  found  in 
the  central  province  as  well  as  all  over  France  before  the  time  of  the 
Abbe  Suger,  but  they  are  only  the  experiments  of  masons  struggling 
with  a  consti-uctive  difficulty ;  and  th^  pointed  style  contimied  to  be 
practised  for  more  than  a  century  and  a  half  after  the  completion  of 
the  choir  of  St.  Ouen,  but  it  is  no  longer  the  pure  and  vigorous  style  of 
the  earlier  period.  It  resembles  more  the  efforts  of  a  national  style 
to  accommodate  itself  to  new  tastes  and  new  feelings,  and  to  maintain 
itself  by  ill-suited  arrangements  agaiast  the  innovation  of  a  foreign 
style  which  was  to  supersede  it,  but  whose  influence  was  felt  long 
before  its  definite  appearance. 

The  sources  from  which  the  pointed  arch  was  taken  have  been 
more  than  once  alluded  to  in  the  preceding  pages.  It  is  a  subject  on 
which  a  gi'eat  deal  more  has  been  said  and  written  than  was  at  all 
called  for  by  the  real  importance  of  the  question.  Scarcely  anything 
was  done  in  pointed  architecture  which  had  not  already  been  done 
in  the  round-arched  styles.  Certainly  there  is  nothing  which  could  not 
have  been  done,  at  least  nearly  as  well,  and  many  things  much  better, 
by  adhering  to  the  complete  instead  of  to  the  broken  arch.  The 
coupling  and  compounding  of  piers  had  already  been  carried  to  great 
perfection,  and  the  assignment  of  a  separate  function  to  each  shaft  was 
already  a  fixed  principle.  Vaulting  too  was  nearly  perfect,  only  that 
the  main  vaults  were  either  hexapartite  or  6-celled,  instead  of  qixadri- 
partite,  as  they  afterwards  became  ;  an  improvement  certainly,  but  not 
of  miich  importance.  Eibbed  vaulting  was  the  greatest  improvement 
which  the  Mediaeval  architects  made  on  the  Eoman  vaults,  giving  not 
only  additional  strength  of  construction,  but  an  apparent  vigour  and 
expression  to  the  vault,  which  is  one  of  the  greatest  beauties  of  the 
style.  This  system  was  in  frequent  use  before  the  employment  of  the 
pointed  arch.  The  different  and  successive  phases  of  decoration  were 
also  one  of  the  Mediaeval  inventions  which  was  carried  to  greater  per- 
fection in  the  round  Gothic  styles  than  in  the  pointed.  Indeed,  it  is  a 
fact,  that  except  window  tracery,  and  perhaps  pinnacles  and  flying 
buttresses,  there  is  not  a  single  important  feature  in  the  pointed  style 
that  was  not  invented  and  currently  used  before  its  introduction. 
Even  of  windows,  which  are  the  important  features  of  the  new  style, 
by  far  the  finest  are  the  circidar  or  wheel  ^dndows,  which  have  nothing 
pointed  about  them,  and  which  always  fit  awkwardly  into  the  pointed 
compartments  in  which  they  are  placed.  In  smaller  windows,  too,  by 
fir  the  most  beautiful  and  constructively  appropriate  traceiy  is  that 
where  circles  are  introduced  into  the  heads  of  the  pointed  windows ; 
but  after  hundreds  of  experiments  and  expedients,  the  difficulty  of 


6(32  FRENCH  ARCHITECT UEE.  15ook  HI. 

fitting  these  circles  into  splicriciil  triangles,  and  the  unpleasant  form  to 
which  their  disagreement  inevitably  gave  rise,  proved  ultimately  so 
intolerable,  that  the  architects  were  forced  to  abandon  the  beautiful 
constructive  geometric  tracery  for  the  flowing  or  flamboyant  form  :  and 
this  last  was  so  ill  adapted  to  stone  construction,  that  ultimately  the 
method  was  abandoned  altogether.  These  and  many  other  difticulties 
W(juld  have  been  avoided,  had  the  architects  adhered  to  the  form  of  the 
unbroken  arch ;  but  on  the  other  hand  it  must  be  confessed  that  the 
pointed  forms  gave  a  facility  of  arrangement  which  was  an  irresistible 
inducement  for  its  adoption;  and  especially  to  the  French,  who  always 
affected  height  as  the  principal  element  of  architectural  effect,  it 
afforded  an  easy  means  for  the  attainment  of  this  object.  Its  greatest 
advantage  was  the  ease  with  which  any  required  width  could  be  com- 
bined with  any  required  height.  With  this  power  of  adaptation  the 
architect  was  at  liberty  to  indulge  in  all  the  wildness  of  the  most  ex- 
uberant fancy,  hardly  controlled  by  any  constructive  necessities  of  the 
work  he  was  carrjdng  out.  AVhether  this  was  really  an  advantage  or 
not,  is  not  quite  clear.  A  tighter  rein  on  the  fancy  of  the  designer 
would  certainly  have  produced  a  purer  and  severer  style,  though  we 
might  have  been  deprived  of  some  of  those  picturesque  effects  which 
charm  so  much  in  Gothic  cathedrals,  especially  when  their  abruptness 
is  softened  by  time  and  hallowed  by  associations.  We  must,  however, 
in  judging  of  the  style,  be  careful  to  guard  ourselves  against  fettering 
our  judgment  by  such  associations.  There  is  nothing  in  all  this  that 
might  not  have  been  as  easily  applied  to  round  as  to  pointed  arches, 
and  indeed  it  would  certainly  have  been  so  applied,  had  any  of  the 
round-arched  styles  arrived  at  maturity. 

Far  more  important  than  the  introduction  of  the  pointed  arch  was 
the  invention  of  painted  glass,  which  is  really  the  important  formative 
principle  of  Gothic  architecture  ;  so  much  so,  that  there  would  be  more 
meaning  in  the  name,  if  we  were  to  call  it  the  '■'■painted  glass  style ," 
instead  of  the  pointed  arch  style. 

In  all  the  earlier  attempts  at  a  pointed  style,  which  have  been 
alluded  to  in  the  preceding  pages,  it  was  confined  to  the  vaults,  pier 
arches,  and  merely  constructive  parts,  while  the  decorative  parts, 
especially  the  windows  and  doorways,  were  still  round-headed.  The 
windows  were  small,  and  at  considerable  distances,  a  very  small  sur- 
face of  openings  filled  with  plain  white  glass  being  sufficient  to  admit, 
all  the  light  that  was  required  for  the  purposes  of  the  building,  while 
more  would  have  destroyed  the  effect  by  the  garish  lightness  that  is 
now  so  offensive  in  most  of  our  great  cathedrals.  As  soon,  however, 
as  painted  glass  was  introduced  the  state  of  affairs  was  altered  :  the 
windows  were  fi:^t  enlarged,  as  far  as  was  thought  possible  without 
endangering  the  painted  glass,  with  the  impeifect  means  of  supporting 
it  then  known.'  All  circular  plans  were  abandoned,  and  polygonal 
apses  and  chapels  of  the  chevet  introduced;  and  lastly,  the  windows 


•  These  consisted  of  strong  iron  bars,    wrought    into    i);itterns    in    accorclimci.'    with  tiie 
design  painted  on  the  glass. 


CiiAi-.  VIII.  FRANKIA.  0()3 

bcill^^•  uiadu  to  occupy  as  nearly  as  Avas  possible  the  whole  of  each  face 
of  tliese  polygons,  the  lines  of  the  upper  part  of  the  window  came 
internally  into  such  close  contact  with  the  lines  of  the  vault,  that  it 
was  alm()st  impossible  to  avoid  making  them  correspond  the  one  with 
the  other.  Thus  the  windows  took  the  pointed  form  already  adopted 
for  constructive  reasons  in  the  vaults.  This  became  even  more  neces- 
sary when  the  fashion  was  introduced  of  grouping  two  or  three  simple 
windows  together  so  as  to  form  one ;  and  lastly,  Avhen  those  portions 
of  Avail  which  sepai'ated  these  windows  one  from  the  other  had  become 
attenuated  into  mullions,  and  the  upper  part  into  tracery,  until  in  fact 
the  whole  wall  was  taken  up  by  the  new  species  of  decoration. 

So  far  as  internal  architecture  is  concerned,  the  invention  of 
painted  glass  was  perhaps  the  most  beautiful  ever  made.  The  painted 
slabs  of  the  Assyrian  palaces  are  comparatively  poor  attempts  at  the 
same  effect.  The  hieroglyphics  of  the  Egyptians  were  far  less  splendid 
and  complete ;  nor  can  the  painted  temples  of  the  Greeks,  nor  the 
mosaics  and  frescos  of  the  Italian  churches,  be  compared  with  the  bril- 
liant effect  and  party-coloured  glories  of  the  windows  of  a  perfect 
Gothic  cathedral,  where  the  whole  history  of  the  Bible  is  written  in 
the  hues  of  the  rainbow  by  the  earnest  hand  of  faith. 

Unfortunately  no  cathedral  retains  its  painted  glass  in  anything 
like  such  completeness ;  and  so  little  is  the  original  intention  of  the 
architects  understood,  that  we  are  content  to  admire  the  plain  surface 
of  white  glass,  and  to  consider  this  as  the  appropriate  filling  of  traceried 
windows,  just  as  our  fathers  thought  that  whitewash  was  not  only  the 
purest,  but  the  best  mode  of  decorating  a  Gothic  intenor.  AVhat  is 
worse,  modern  architects,  when  building  Gothic  churches,  fill  theii- 
sides  with  large  openings  of  this  class,  not  reflecting  that  a  gallery 
of  picture-frames  without  the  pictures  is  after  all  a  sorry  exhibition  ; 
but  so  completely  have  we  lost  all  real  feeling  for  the  art,  that  its 
absurdity  does  not  strike  us  now. 

It  will,  however,  be  impossible  to  understand  what  follows,  unless  we 
bear  in  mind  that  all  windows  in  all  churches  erected  after  the  middle 
of  the  12th  century  were  at  least  intended  to  be  filled  with  painted 
glass,  and  that  the  principal  and  guiding  motive  in  all  the  changes 
subsequently  introduced  into  the  architecture  of  the  age  was  to  obtain 
the  greatest  pos  ible  space  and  the  best  arranged  localities  for  its  display. 

Freemasonry. 

The  institution  of  freemasonry  is  another  matter  on  which,  like  the 
invention  of  the  pointed  arch,  a  great  deal  more  has  been  said  than  the 
real  importance  of  the  subject  at  all  deserves.  Still  this  subject  has 
been  considered  so  all-important,  that  it  is  impossible  to  pass  it  over 
hei'C  without  some  reference,  if  only  to  explain  why  so  little  notice 
will  be  taken  of  its  influence,  or  of  the  important  names  Avhich  are 
connected  with  it. 

Before  the  middle  of  the  12th  and  beginning  of  the  loth  century, 
it  is  generally  admitted  that  the  corporation  of  freemasons  was  not 
sufUciently  organized  to  have  had  much  influence  on  art.  At  that  time 
it  is  supposed  to  have  assinned  more  importance,  and  to  have  been 


G64  FRENCH  ARCHITECTURE.  Eook  III. 

the  principal  guiding  can.sc  in  the  great  change  that  then  took  place 
in  architecture.  Those  who  adopt  this  view,  forget  that  at  that  time 
all  trades  and  professions  were  organized  in  the  same  manner,  and  that 
the  guild  of  masons  differed  in  no  essential  particulars  from  those  of 
the  shoemakers  or  hatters,  the  tailors  or  vintners — all  had  their  masters 
and  past-masters,  their  wardens,  and  other  officers,  and  were  recruited 
from  a  body  of  apprentices,  who  were  forced  to  undergo  years  of  pro- 
bationary servitude  before  they  were  admitted  to  practise  their  art. 

But  though  their  organization  was  the  same,  the  nature  of  their 
arts  forced  one  very  essential  distinction  upon  the  masons,  inasmuch 
as  all  the  usual  trades  were  local,  and'  the  exercise  of  them  confined  to 
the  locality  where  the  tradesmen  resided,  while  the  builders  were 
forced  to  go  Avherever  any  great  work  was  to  be  executed. 

Thus  the  shoemakers,  tailors,  bakers,  and  others,  lived  among  their 
customers,  and  just  in  such  numbers  as  were  required  to  supply  their 
usual  recurring  wants.  It  is  true'  the  apprentices  travelled  to  leam 
their  profession  and  see  the  world  before  settling  doAvn,  but  after  that 
each  returned  to  his  native  town  or  village,  and  then  established  himself 
among  his  friends  or  relatives,  where  he  was  kno^^•n  liy  all,  and  where 
he  at  once  took  his  station  without  further  trouble. 

^Vith  the  mason  it  was  different :  his  work  never  came  to  him,  nor 
could  it  be  carried  on  in  his  own  house  ;  he  always  w^as  forced  to  go 
to  his  work  ;  and  when  any  great  church  or  building  was  to  be  erected 
in  any  town,  which  was  beyond  the  strength  of  the  ordinary'  trades- 
men of  the  place  to  undertake,  masons  were  sent  for,  and  flocked  from 
all  the  neighbouring  towns  and  districts  to  obtain  employment. 

At  a  time  when  writing  was  almost  unknown  among  the  laity, 
and  not  one  mason  in  a  thousand  could  either  read  or  Avrite,  it  is  evi- 
dent that  some  expedient  must  be  hit  upon  by  which  a  mason  travel- 
ling to  his  work  might  claim  the  assistance  and  hospitality  of  his 
brother  masons  on  the  road,  and  by  means  of  which  he  might  take  his 
rank  at  once,  on  reaching  the  lodge,  without  going  through  tedious 
examinations  or  giving  practical  proof  of  his  skill.  For  this  purpose 
a  set  of  secret  signs  was  invented,  which  enabled  all  masons  to  recog- 
nise one  another  as  such,  and  by  w^hich  also  each  man  could  make 
known  his  grade  to  those  of  the  same  rank,  without  further  trouble 
than  a  manual  sign,  or  the  utterance  of  some  recognised  j)ass-word. 
Other  trades  had  something  of  the  same  sort,  but  it  never  was  neces- 
saiy  for  them  to  carry  it  either  to  the  same  extent  nor  to  practise  it 
so  often  as  the  masons,  being  for  the  most  part  resident  in  the  same 
place  and  knowing  each  other  personally.  The  masons,  thus  from 
circumstances  organized  more  completely  than  other  trades,  were  men 
skilled  in  the  arts  of  hewing  and  setting  stones,  acquainted  with  all 
recent  inventions  and  improvements  connected  with  their  profession, 
and  capable  of  carrying  out  any  work  that  might  be  entnisted  to  them, 
though  always  under  the  guidance  of  some  superior  personage,  w^hether 
he  was  a  bishop  or  abbot,  or  an  accomplished  layman.  In  the  time  of 
which  we  are  speaking,  which  was  the  great  age  of  Gothic  art,  there 
is  no  instance  of  a  mason  of  any  grade  being  called  upon  to  furnish  the 
desie;n  as  well  as  to  execute  the  work. 


CiiAi.  Ylll.  FRANKIA.  6G5 

It  may  appear  strange  to  us  in  the  19th  century,  among  whom  the 
great  majority  really  do  not  know  what  true  art  means,  that  six  cen- 
tui'ies  ago  eminent  men,  not  specially  educated  to  the  profession  of 
ar(;hitecture,  and  qualified  only  by  talent  and  good  taste,  should  have 
been  capable  of  such  vast  and  excellent  designs ;  but  a  little  reflection 
will  show  how  easy  it  is  to  design  when  art  is  in  the  right  path. 

If  for  instance  we  take  a  cathedral,  any  one  of  a  series — let  us  say 
Taris :  Avhen  it  was  completed,  or  nearly  so,  it  was  easy  to  see  that 
though  an  improvement  on  those  which  preceded  it,  there  were  many 
things  which  might  be  better.  The  side  aisles  were  too  low,  the 
gallery  too  large,  the  clerestory  not  sufficiently  spacious  for  the  display 
of  the  painted  glass,  and  so  on.  Let  us  next  suppose  the  Bishop  of 
Amiens  at  that  period  determined  on  the  erection  of  his  cathedral.  It 
was  easy  for  him  or  his  master-mason  to  make  these  criticisms,  and 
also  to  see  how  to  avuid  these  mistakes  ;  they  could  easily  also  see 
where  width  might  be  spared,  especially  in  the  nave ;  how  also  a  little 
additional  height  and  a  little  additional  length  Avould  improve  the 
efl:ect  of  the  whole.  During  the  progress  of  the  Parisian  works  also 
some  capitals  had  been  designed,  or  some  new  form  of  piers,  which 
were  improvements  on  preceding  examples,  and  generally  more  confi- 
dence and  skill  woidd  be  derived  from  experience  in  the  construction 
of  arches  and  vaults.  All  these  of  course  Avould  be  adopted  in  the  new 
cathedral ;  and  without  making  drawings,  guided  only  by  general  direc- 
tions as  to  the  plan  and  dimensions,  the  masons  might  proceed  with 
the  work,  and  introducing  all  the  new  improvements  as  it  progressed, 
they  woidd  inevitably  produce  a  better  result  than  any  that  preceded 
it,  without  any  especial  skill  on  the  part  either  of  the  master-mason  or 
his  employer. 

K  a  third  cathedral  were  to  be  built  after  this,  it  would  of  course 
contain  all  the  improvements  made  during  the  progress  of  the  second, 
and  all  the  corrections  which  its  results  suggested ;  and  thus,  while 
the  art  was  really  progressive,  it  required  neither  great  individual 
skill  nor  particular  aptitude  to  build  such  edifices  as  we  find. 

In  fine  arts  we  have  no  illustration  of  this  in  modern  times ;  but  all 
our  useful  arts  advance  on  the  same  principles,  and  lead  consequently 
to  the  same  results.  In  ship-building,  for  instance,  if  we  take  a  series 
of  ships,  from  those  in  which  Edward  III.  and  his  bold  warriors  crossed 
the  Channel  to  the  great  line-of -battle  ships  now  lying  at  anchor  in 
our  harbours,  we  find  a  course  of  steady  and  iniinterrupted  improve- 
ment from  first  to  last.  Some  new  method  is  tried :  if  it  is  found  to 
succeed,  it  is  retained ;  if  it  fails,  it  is  dropped.  Thus  the  general  ten- 
dency constantly  leads  to  progress  and  improvement.  And,  to  con- 
tinue the  compaiison  a  little  further :  this  progress  in  the  art  is  not 
attributable  to  one  or  more  eminent  naval  architects.  Great  and 
important  discoveries  have  no  doubt  been  made  by  individuals,  but  in 
these  cases  we  may  generally  assume  that,  the  state  of  science  being 
ripe  for  such  advances,  had  the  discovery  in  question  not  been  made 
by  one  man,  it  scxjn  would  have  (jccurred  to  some  other. 

The  fact  is,  that  in  a  useful  art  like  that  of  ship-building,  or  in  an 


666  FRENCH  ARCHITECTURE.  1W>k  HI. 

art  combining  use  and  beauty  like  that  of  architecture — that  is,  when 
the  latter  is  a  real,  living,  national  art — the  progress  made  is  o'\A'ing, 
not  to  the  connnanding  abilities  of  particular  men,  but  to  the  imited 
influence  of  the  whole  public.  An  intelligent  sailor  who  discusses  the 
good  and  bad  qualities  of  a  ship,  does  his  part  towards  the  advance- 
ment of  the  art  of  ship-building.  So  in  ai'chitecture,  the  merit  of  any 
one  admirable  building,  or  of  a  high  state  of  national  art,  is  not  due 
to  one,  or  to  a  few  master  minds,  but  to  the  aggregation  of  expe- 
rience, the  mass  of  intellectual  exertion,  which  alone  can  achieve  any 
practically  great  result.  Whenever  we  see  any  work  of  man  truly 
worthy  of  admiration,  we  may  be  quite  sure  that  the  credit  of  it  is  nut 
due  to  an  individual,  but  to  thousands  working  through  a  long  series 
of  years. 

The  pointed  Gothic  architecture  of  Germany  furnishes  a  negative 
illustration  of  the  view  which  we  have  taken  of  the  conditions 
necessary  for  great  architectural  excellence.  There  the  style  was  not 
native,  but  introduced  from  France.  French  masons  were  employed, 
who  executed  their  work  with  the  utmost  precision,  and  with  a  per- 
fection of  masonic  skill  scarcely  to  be  found  in  France  itself.  But  in 
all  the  higher  elements  of  beauty,  the  German  pointed  Gothic  cathe- 
drals are  immeasurably  inferior  to  the  French.  They  are  no  longer 
the  expression  of  the  devotional  feelings  of  the  clergy  and  people ; 
they  are  totally  devoid  of  the  highest  order  of  architectixral  beauty. 

The  truth  of  the  matter  is,  that  the  very  pre-eminence  of  the  great 
masonic  lodges  of  Germany  in  the  14th  century  destroyed  the  art. 
When  freemasonry  became  so  powerful  as  to  usurp  to  itself  the  design- 
ing as  well  as  the  execution  of  churches  and  other  buildings,  there 
was  an  end  of  true  art,  though  accompanied  by  the  production  of  some 
of  the  most  wonderful  specimens  of  stone  cutting  and  of  constructive 
skill  that  ever  were  produced.  This,  however,  is  "  building,"  not  archi- 
tecture ;  and  though  it  may  excite  the  admiration  of  the  vulgar,  it 
never  will  touch  the  feelings  of  the  true  artist  or  man  of  taste. 

This  decline  of  true  art  had  nowhere  showTi  itself  during  the  13th 
century,  with  which  we  are  concerned  at  present.  Then  architecture 
was  truly  progressive :  every  man  and  every  class  in  the  country  lent 
his  aid,  each  in  his  own  department,  and  all  worked  together  to  pro- 
duce those  wonderful  buildings  which  still  excite  our  admiration.  The 
masons  performed  their  part,  and  it  was  an  important  one ;  but  neither 
to  them  nor  to  their  employers,  such  as  the  Abbe  Stiger,  Maurice  de 
Sully,  Robert  de  Lusarches,  or  Fulbert  of  Chartres,  is  the  whole  merit 
to  be  ascribed,  but  to  all  classes  of  the  French  nation  carrying  on 
steadily  a  combined  movement  towards  a  well-defined  end. 

In  the  following  pages,  therefore,  it  will  not  be  necessary  to  recur 
to  the  freemasons  nor  their  masters — at  least  not  more  than  incident- 
ally— till  we  come  to  German3^  Nor  will  it  be  necessary  to  attempt 
to  define  who  was  the  architect  of  any  pai'ticular  building.  The 
names  usually  fixed  upon  by  antiquaries  after  so  much  search  are 
merely  those  of  the  master-masons  or  foremen  of  the  works,  who  had 
nothing  to  do  with  the  main  designs  of  the  buildings. 


CiiAi'.  IX.  FRENCH  CcyrHlC  cathedrals.  tWi? 


CHAPTER  IX. 
FRENCH  GOTHIC  CATHEDRALS. 

CONTENTS. 

Paris  —  Cliartres  —  Rheims  —  Amiens  —  Other  cathedrals  —  Later  style  —  St.  Oueu's, 

Rouen. 


The  great  difficulty  in  attempting  to  describe  the  arcliitectnre  of 
France  during  the  gh)rious  period  of  the  13th  century  is  really  the 
embarras  de  richesse.  There  are  even  now  some  thirty  or  forty  cathedrals 
of  the  first  class  in  France,  all  owing  their  magnificence  to  this  great 
age.  Some  of  these,  it  is  true,  were  commenced  even  early  in  the  12th, 
and  many  were  not  completed  till  after  the  14th  century ;  hut  all  their 
principal  features,  as  well  as  all  the  more  important  beauties,  belong 
to  the  13th  century,  which,  as  a  building  epoch,  is  perhaps  the  most 
brilliant  in  the  whole  history  of  architecture.  Not  even  the  great 
Pharaonic  era  in  Egypt,  the  age  of  Pericles  in  Greece,  nor  the  great 
period  of  the  Roman  empire,  will  bear  comparison  with  the  1 3th  cen- 
tury in  Europe,  whether  we  look  to  the  extent  of  the  buildings 
executed,  their  wonderful  variety  and  constructive  elegance,  the  daring 
imagination  that  conceived  them,  or  the  power  of  poetry  and  of  lofty 
religious  feelings  that  is  expressed  in  every  feature  and  in  every  part 
of  them. 

During  the  previous  age  almost  all  the  gieater  ecclesiastical  build- 
ings were  abbeys,  or  belonged  exclusively  to  monastic  establishments — 
were  in  fact  the  sole  property,  and  built  only  for  the  use,  of  the  clergy. 
The  laity,  it  is  true,  were  admitted,  but  only  on  sufferance.  They  had 
no  right  to  be  there,  and  no  part  in  the  ceremonies  performed.  During 
the  l;5th  century  almost  all  the  great  buildings  were  cathedrals,  in  the 
erection  of  which  the  laity  bore  the  greater  part  of  the  expense,  and 
shared,  in  at  least  an  equal  degree,  in  their  property  and  purposes. 
In  a  subseqixent  age  the  parochial  system  went  far  to  supersede  even 
the  cathedral,  the  people's  church  taking  almost  entirely  the  place 
of  the  priest's  church,  a  step  which  was  subsequently  canied  to  its 
utmust  length  by  the  Reformation.  Our  present  subject  requires  us 
to  fix  our  attention  on  that  stage  of  this  great  movement  which  gave 
rise  to  the  building  of  the  principal  cathedrals  throughout  Europe 
from  the  12  th  to  the  15th  centuiy. 

The  transition  from  the  round  Gothic  to  the  true  pointed  Gothic 
style  in  the  centre  of  France  took  place  with  the  revival  of  the  na- 
tional power  under  the  guidance  of  the  great  Abbe  Suger,  about  the 
year  1144.     In  England  it  hardly  appeared  till  tlic  rebuilding  of  Can- 


(368  FRENCH  ARCHITECTURE.  Book  III. 

terlnuy  Cathedral,  under  the  guidance  of  a  French  architect,  a.d.  1175  ; 
and  in  Gennany  it  is  not  found  till,  at  all  events,  the  beginning  of  the 
13th  century,  and  can  hardly  be  said  to  have  taken  firm  root  in  that 
country  till  a  century  at  least  after  it  had  been  fairly  established  in 
France. 

The  development  of  particular  features  will  be  pointed  out  as  we 
proceed  ;  but  no  attempt  will  be  made  to  arrange  the  cathedrals  and 
great  buildings  in  chronological  order.  Such  an  attempt  would  merely 
lead  to  confusion,  as  most  of  them  took  a  centiuy  at  least  to  erect — 
many  of  them  two. 

In  France,  as  in  England,  there  is  no  one  great  typical  building  to 
Avhich  Ave  can  refer  as  a  standard  of  perfection — no  Hypostyle  Hall  or 
rarthenon  which  combines  in  itself  all  the  excellences  of  the  style ; 
and  we  are  forced  therefore  to  cull  from  a  number  of  examples  materials 
for  the  composition,  even  in  imagination,  of  a  perfect  whole.  Germany 
has  in  this  respect  been  more  fortunate,  possessing  in  Cologne  Cathe- 
dral an  edifice  combining  all  the  beauties  ever  attempted  to  be  pro- 
duced in  pointed  Gothic  in  that  country.  But  even  this  is  only  an 
imitation  of  French  cathedrals,  erected  by  persons  who  admired  and 
understood  the  details  of  the  style,  but  were  incapable  of  appreciating 
its  higher  principles.  The  great  cathedrals  of  Rheims,  Chartres,  and 
Amiens,  are  all  ^arly  examples  of  the  style  ;  and  as  the}"  were  erected 
nearly  simultaneously,  none  of  their  architects  were  able  to  profit  by 
the  experience  obtained  in  the  others.  Consequently  they  are  all 
more  or  less  experiments  in  a  new  and  untried  style.  The  principal 
parts  of  the  church  of  St.  Ouen  at  Eouen,  on  the  contrary,  are  some- 
what too  late  ;  and  beautiful  though  it  is,  masonic  perfection  was  then 
coming  to  be  more  considered  than  the  expression  either  of  poetry  or 
of  power. 

Still  in  Rheims  Cathedral  we  have  a  building  possessing  so  many  of 
the  perfections  and  characteristic  beauties  of  the  art,  that  it  may  almost 
serve  as  a  type  of  the  earlier  style,  as  St.  Ouen  may  of  the  later ;  and 
though  we  may  regret  the  absence  of  the  intermediate  steps,  except 
in  such  fragments  as  the  Sainte  Chapelle  at  Paris,  still  between  them 
we  may  obtain  a  tolerably  clear  idea  of  the  form  to  which  French  art 
aspired  during  its  most  flourishing  age. 

To  avoid  as  far  as  may  be  possible  the  tediousness  of  repetition 
necessary,  if  the  attempt  were  made,  to  describe  each  building  sepa- 
rately, and  at  the  same  time  not  to  fall  into  the  confusion  that  must 
I'esult  from  grouping  the  whole  together,  the  most  expedient  mode 
will  perhaps  be,  to  describe  first  the  four  great  tj^ical  cathedrals  of 
Paris,  Chartres,  Rheims,  and  Amiens,  and  then  to  point  out  briefly  the 
principal  resemblances  and  differences  between  these  and  the  other 
cathedrals  of  France. 

Of  these  fou.r,  that  of  Paris  is  the  oldest ;  the  foundation-stone 
having  been  laid  1163,  and  the  work  carried  on  with  such  activity  by 
the  bishop,  Maurice  de  Sully,  that  the  high  altar  was  dedicated  1182, 
the  interior  completed  1208,  and  the  west  front  finished  about  the 
year  1214. 


Chap.  IX. 


FREXCH  OO'JIIIC  CATHEDRALS. 


r,60 


The  history  of  tlie  cathedral  of  Chartres  is  not  so  easily  made  out. 
An  important  cluirch  was  erected  here  l\y  Bishop  Fulbert  in  the  begin- 
ning of  the  11th  century,  of  which  building  scarcely  anything  now 
remains  but  the  piers  of  the  western  doors. 

The  building  of  the  present  chnrch  seems  to  have  been  commenced 
about  a  century  after  the  completion  of  the  older  building,  for  the  great 
"western  towers  were  in  progress  in  the  year  1145,  and  the  new  choir 
must  have  been  commenced  very  shortly  afterwards.  Indeed,  the  greater 
part  of  the  building  belongs  to  the  latter  half  of  the  12th  century,  or 
very  early  in  the  13th ;  but  it  was  not  completed  till  the  year  1260. 

The  cathedral  of  Eheims  was  commenced  in  the  year  1211,  imme- 
diately after  a  fire  which  consumed  the  preceding  building,  and  under 
the  auspices  of  Archbishop  Alberic  de  Humbert, — Eobert  de  Couci  act- 
ing as  trastee  on  the  part  of  the  laity. 
It  was  so  far  completed  in  all  essential 
parts  as  to  be  dedicated  in  1241. 

Amiens  Cathedral  was  commenced 
in  1220,  and  completed  in  1257;  but 
being  partially  destroyed  by  fire  the 
year  afterwards,  the  clerestory  and  all 
the  ujiper  parts  of  the  church  were  re- 
built. The  Avhole  seems  to  have  been 
completed,  nearly  as  we  now  find  it, 
about  the  year  1272.  From  this  pe- 
riod to  the  building  of  the  choir  of  St. 
Ouen,  at  Rouen,  1318-1339,  there  is  a 
remarkable  deficiency  of  great  exam- 
ples in  France.  The  intermediate  space 
is  very  imperfectly  filled  by  the  exam- 
ples of  St.Urbain  at  Troyes,  St.Benigne 
at  Dijon,  and  a  few  others.  These  are 
just  sufficient  to  show  how  exquisite 
the  style  then  was,  and  what  we  have 
lost  b}'  almost  all  the  cathedrals  of 
France  having  been  commenced  simul- 
taneously, and  none  being  left  to  benefit 
by  the  experience  of  their  predecessors. 
Though  the  plans  of  these  cathedrals 
differ  to  some  extent,  their  dimensions 
are  very  nearly  the  same  ;  that  at — 


Paris,  covering  about     .      .  64,108  feet. 

Chartres 68,260     „ 

Rheims 67,475     „ 

Amiens 71,208     „ 


535.     Fliiii  of  CiUliP.lrul  of  Notre  I)iirn<s  I'aris. 

From  Cliapiiy,  Moyeii  Age  Rlonunicntul. 

Scale  KiOfl.  to  1  ill. 


These  dimensions,  though  inferior  to 

those  of  Cologne,  Milan,  Seville,  and 

some  other  exceptional  Ijuildings,  are  still  as  large  as  those  of  any 

erected  in  the  middle  ages. 

The  cathedral  of  Paris  was  designed  at  a  time  when  the  architects 


070 


FH RNCH  AK( 'IlITECTURE. 


Book  111. 


had  not  olitninod  tliat  confidence  in  their  own  skill  which  made  them 
afterwards  complete  masters  of  the  constructive  difficulties  of  the 
desipi.  As  shown  in  the  plan  (woodcut  No.  535),  the  points  of  support 
ai-e   far   more    numerous   and   placed   nearer  to  one  another  than  is 

usually  the  case;  and  as  may  he  seen 
from  the  section,  instead  of  two  tall 
stories,  the  height  is  divided  into  three, 
and  made  up,  if  I  may  so  express  it,  of  a 
series  of  cells  built  over  and  beside  each, 
so  as  to  obtain  immense  strength  with  a 
slight  expenditure  of  materials. 

It  must  at  the  same  time  be  confessed 
that  this  result  was  obtained  with  a  con- 
siderable sacrifice  of  grandeiu-  and  sim- 
plicity of  effect.  Even  before  the  build- 
ing was  completed,  the  architects  seem 
to  have  become  aware  of  these  defects ; 
and  as  is  shown  in  the  woodcut  (Ko.  537), 
the  simple  undivided  \s4ndows  of  the 
clerestory  were  cut  down  so  as  to  give 
them  the  greatest  possible  height,  and 
the  roof  of  the  upper  gallery  made  flat  to 


536.   Section  of  Side  Aisles,  Cathedral  of  admit  of  this  ;  and  eventually  larger  wiu- 

Paris.    From  Gailhabaud,  Architecture.  -  -  -  -      .  .-.■•. 

Scale  50  feet  to  1  inch. 


dows  were  introduced  between  the  but- 


tresses, so  as  to 


get 


fewer  and  larger 


parts,  and  also  of  course  to  admit  of  larger  surfaces  for  painted  glass. 

With  all  these  improvements 'the  cathedral  has  not  internally  the  same 

grandem-  as  the  other  three,  though  externally 
there  is  a  very  noble  simplicity  of  outline,  and 
appearance  of  solidity  in  the  whole  design.  In- 
ternally it  still  retains,  as  may  be  seen  from  the 
plan,  the  hexapartite  arrangement  in  its  vaults 
over  the  central  aisle,  and  the  quadripai-tite  in 
the  side  aisles  only.  Tliis  causes  the  central 
vault  to  oveii^ower  those  on  each  side,  and 
makes  not  only  the  whole  church,  but  aU  the 
pai-ts,  look  much  smaller  than  woidd  have  been 
the  case  had  the  roof  been  cut  into  smaller  divi- 
sions, as  was  always  done  afterwards. 

At  Chartres  most  of  these  defects  were 
avoided  ;  there  is  there  a  fewness  of  parts  and 
a  grandeur  of  conception  seldom  surjiassed. 
The  great  defect  of  proportion  in  that  building 
arises  from  the  circumstance  that  the  architect 
included  the  three  aisles  of  the  old  chiu'ch  in 

At  that 


Orip;inal 


'des^r*   the  central  aisle  of  the  present  one. 

537.  External  Elevation,  Cathedral  |-  ^^.^^    dai'ins:    perfection    of  CXCCUtion    had 

of  Paris.  From  Gailhataud.  »    ^ 


Scale  50  feet  to  1  inch. 


vaults  to  be  carried  to  so  astonishing 


not  been  acquired  which  afterwards  enabled  the 
a  height.     At  Chartres  the  pro- 


CiiAr.  IX. 


FPxENCH  GOTHIC  CATIIFURxMi;. 


(371 


portion  of  width  to  hoiglit  is  nearly  as  one  to  two,  the  breadth  of  the 
central  nave  lieing  nearly  50  ft.,  and  the  height  only  10<i.  Willi  the 
great  length  of  sncli  Imildings  found  in  England  such  proportions  were 


tolei'able,  but  in 
the  shorter  French 
cathedrals  it  gives 
of 

is 
being 


WW^^'^j'^ 


an    appearance 
lowness   which 
f\r      from 
pleasing ;    and   as 
the    pauited   glass 
has    been     almost 
entirely     removed 
from   the   nave,   a 
cold  glare  now  per- 
vades   the    whole, 
which   renders    it 
extremely  difficult 
to  judge  of  the  ori- 
ginal effect. 

Most  of  those 
defects  were  avoid- 
ed by  the  builders 
of  the  cathedral  at 
TJheims,  and  no- 
thing can  exceed 
the  simple  beauty 
and  perfection  of 
the  arrangement  of 
the  plan,  as  well 
as  of  the  general 
hannony  of  all  the 
parts.  The  pro- 
portion, both  in 
width  and  height, 
of  the  side  aisles  to 
the  central  nave, 
and  the  absence  of 
•side  chapels  or  any 
subsequent  additions,  render  the  nave  one  of  the  most  perfect  in  France. 
The  mode  in  which  the  church  expands  as  you  approach  the  choir,  and 
the  general  arrangement  of  the  eastern  part,  as  shown  in  the  plan 
(woodcut  No.  580),  are  equally  excellent,  and  surpassed  by  no  building 
of  the  middle  ages.  The  piers  are  perhaps  a  little  heavy,  and  their 
capitals  want  simplicity  ;  the  triforium  is  perhaps  too  plain  ;  and  at  the 
present  day  the  effect  of  the  church  is  in  one  respect  reversed,  inasmuch 
as  the  clerestory  retains  its  painted  glass,  which  in  the  side  aisles  has 
been  almost  totally  destroyed.  In  consequence  of  this,  it  has  the  effect 
of  being   lighted  from  below — an   arrangement  highly  destructive  of 


."iSS.    Plan  of  Chartres  Cathedral.    From  Chapuy.    Scale  100  ft.  to  1  in. 


()72 


FRENCH  AlJCEIlTECTUJiP:. 


I500K  TIT. 


architectural  beauty.  Notwithstanding  all  this,  it  far  surpasses  those 
buildings  which  ]:)roccded  it,  and  is  only  equalled  by  Amiens  and  those 
conijdeted  afterAvards,  which,  takmg  advantage  of  the  introduction  just 
at  the  time  of  their  erection  of  complicated  window  tracery,  were  en- 
abled to  dispense  almost  wholly  with  solid  walls,  and  to  render  their 
clerestories  at  leasts  one  blaze  of  gorgeous  colouring — the  glass  being 


539.      Plan  of  Rlieims  Cathedral. 

Scale  100  feet  to  1  inch.  From  Chapuy. 


540.       Plan  of  Amiens  Cathedral. 
Scale  100  feet  to  1  inch. 


disposed  in  the  most  beautiful  forms,  and  framed  in  stone,  so  as  to 
render  it,  notwithstanding  its  extent,  still  an  integral  part  of  the  whole 
building.  In  this  respect  the  great  height  of  the  clei'estory  at  Amiens, 
and  its  exceeding  lightness,  give  it  an  immense  advantage  over  the 
preceding  churches,  although  this  is  gained  at  the  sacrifice,  to  a  certain 
extent,  of  the  sober  and  simple  majesty  of  the  earlier  examples.  There 
is  nevertheless  so  much  beauty  and  so  much  poetry  in  the  whole  etrect 


CUAP.   IX. 


NOTRE  DAME. 


()7H 


iliivt  it  is  scarcely  fair  to  apply  the  cold  riiles  of  criticism  to  so  fanciful 
ami  fascinating  a  creation. 

Externally  the  same  progress  is  obserA^able  in  these  four  cathedrals 
as  in  their  interior  an'angemcnts.  The  fa(;'ade  of  the  cathedral  at 
I*aris  is  simple-  in  its  outline,  and  hold  and  majestic  in  all  its  parts, 
and  tliough  jirrliaps  a  little  open  to  the  charge  of  heaviness,  it  is 
admirahly  adapted  to  its  situation,  and  both  in  design  and  pruporti<jn 
lits  ailiiiirably  to  the  church  to  which  it  is  attached.  The  flanks  too 
«.)f  the  building,  as  originally  designed,  must  have   been   singiilarly 


5n. 


View  of  the  Fafade  of  the  Cathedral  at  Paris.    From  Chapuy. 


beautiful,  for,  though  sadly  disfigured  by  the  inseiiion  of  chapels, 
whicli  obliterate  the  buttresses  and  deprive  it  of  that  light  and  shade 
so  indispensable  to  architectural  effect,  even  now  there  is  a  simplicity 
in  its  outline,  and  an  elegance  in  the  whole  form  of  the  building,  that 
has  not  often  been  excelled  in  Gothic  structures. 

The  lower  })art  of  the  facade  at  Chartres  is  older  than  that  of  Paris, 
and  St)  plain  (it  might  almost  be  called  rude)  as  hardly  to  admit  of 
comparison  with  it ;  but  its  two  spires,  of  different  ages,  are  unsur- 

2  X 


(574 


FJlENCll  AUClllTPXrrURE. 


Book  III. 


passed  in  Franco.  Even  in  the  southern  or  ohler  of  the  two,  "wliich 
AViis  probably  liuishod  in  the  12th  coiitnry,  we  find  all  the  elenientfs 
which  were  so  fully  developed  in  (Germany  and  elsewhere  in  the  fol- 
lowing centuries.  The  change  from  the  square  to  the  octagon,  and 
fnuu  the  p'erpendicular  part  to  the  sloping  sides  of  the  spire,  are 
managed  with  the  most  perfect  art ;  and  were  not  the  effect  it  produces 
destroyed  by  the  elaborate  richness  of  the  other  s]iire,  it  would  be  con- 


542. 


iS'orth-AVest  View  of  the  Cathedral  at  Chartres.    From  Chapuy. 


sidered  one  of  the  most  beautiful  of  its  class.  The  new  or  northern 
spire  was  erected  by  Jean  Texier  between  the  years  1507  and  1614. 
Notwithstanding  the  lateness  of  its  date,  this  must  be  considered  as 
on  the  whole  the  most  beaiitiful  spire  on  the  continent  of  Euroi^e — 
certainly  far  surpassing  those  at  Strasburg,  Vienna,  or  Antwerp.  If 
it  has  a  rival  it  is  that  at  Freibuig,  oi-  those  designed  for  the  cathedral 


Chap.  IX. 


BU^r'J'llESSES. 


675 


543.    Hut  ti  ess  at  Chaities,     Fiom 
]!;>tissicr,  Histoire  de  lArt. 


at  Coloffue  :  but  with  details  of  the  same  date,  I  have  no  doubt  that 

tliis  would  bo  considered  the  finest  spire  of 

the  three.' 

The  transepts  at  (Jhartres  have  more  pro- 
jection than  those  of  Paris,  and  were  originally 

designed  with  two  towers  to  each,  and  two 

others  were  placed  one  on  each  side  of  the 

choir ;  so  that  the  cathedral  would  have  had 

eight   towers   altogether   if   completed ;     but 

none  except  the  western  two  have  been  car- 
ried higher  than  the  springing  of.  the  roof; 

and  though  they  sei've  to  vary   the   outline, 

they  do  not  relieve,  to  the  extent  they  might 

have  done,  the  heavy  mass  of  the  roof.      In 

other   respects    the    external    beauty   of  the 

cathedral  is  somewhat  injured  by  the  extreme 

massiveness  of  the   flying  buttresses,   Avhich 

were  deemed  necessary  to  resist  the  thrust  of 

the  enormous  vault  of  the  central  nave  ;  and, 

though  each  is  in  itself  a  massive  and  beautiful 

object,  they  crowd  to  an  inconvenient  extent 

the    clerestory ;    the  ■  eftect  of  which  is   also 

somewhat  injured  by  the  imperfect  tracery  of 

the  windows,  each  of  which  is  more  like  sepa- 
rate openings  grouped  together  than  one  grand 
and  simple  window. 

The  progress  that  took  place  between  this 
building  and  that  at  Eheims  is  more  remark- 
able on  the  exterior  than  even  in  the  interior. 
The  fa(;'ade  of  that  church,  thoiigh  small  as 
compared  with  some  others,  was  perhajjs  the 
most  beautiful  structure  produced  during  the 
middle  ages  ;  and,  though  it  is  difficult  to  insti- 
tute a  rigorous  comparison  between  things  so 
dissimilar,  there  is  perhaps  no  facade,  either  of 
ancient  or  of  modern  times,  that  svirpasses  it 
in  beauty  of  proportion  and  details,  or  in  fit- 
ness for  the  purpose  for  which  it  was  de- 
signed. Nothing  can  exceed  the  majesty  of 
its  deeply-recessed  triple  portals,  the  beauty 
of  the  rose-window  that  surmounts  them,  the 
elegance  of  the  gallery  that  completes  the 
f;K;ade  and  serves  as  a  basement  to  the  light 
and  graceful  towers  that  crowT:i  the  composi- 
tion. These  were  designed  to  carry  spires, 
no  doubt  as  elegant  and  appropriate  as  them- 
selves ;   but  this  part  of  the  design  was  never 


544.    Buttresses  at  Rheims. 
Chapuy. 


From 


'  The  height  of  the  old  spire  is  342  ft.  6  in.  with  the  cross  ;  of  the  new,  :i71  ft. 

2x2 


()7()  FRKNCH  AKClHTECTUltE.  Book  III. 

completed.  Tlic  beautiful  range  of  buttresses  which  adom  the  flanks 
of  the  building  are  also  perhaps  the  most  beautiful  in  France,  and  cany 
the  di^sign  of  the  fayade  back  to  the  transepts.  'J'hese  are  later  and  less 
ornate  than  the  western  front,  but  are  still  singularly  beautiful,  though 
wanting  the  two  towers  designed  to  ornament  each  of  them.  On  the 
intersection  of  the  nave  with  the  transepts  there  rose  at  one  time  a  spire 
of  Avood,  probably  as  high  as  the  intended  spires  of  the  western  towers, 
and  one  still  cro^\^ls  the  ridge  of  the  chevet,  rising  to  half  the  height 
above  the  roof  that  the  central  one  was  intended  to  attain,  \\ere  these 
all  complete,  we  should  have  the  beau  ideal  externally  of  a  French 
cathedral,  with  two  western  and  one  central  spire,  and  four  towers  at 
the  ends  of  the  transepts.  All  these  perhaps  never  were  fully  completed 
in  any  instance,  though  the  rudiments  of  the  arrangement  ai'c  found  in 
almost  all  the  principal  French  cathedrals.  In  some,  as  for  instance 
at  Rouen,  it  was  carried  out  in  number,  though  of  such  diflerent  ages 
and  design  as  to  destroy  that  unity  of  eflect  essential  to  perfect  beauty. 

The  external  effect  of  Amiens  may  be  taken  rather  as  an  example 
of  the  defects  of  the  general  design  of  French  cathedrals  than  as  an 
ilhistration  of  their  beauties.  The  western  facade  presents  the  same 
general  features  as  those  of  Paris  and  Kheims,  but  the  towers  are  so 
small  in  proportion  to  the  immense  building  behind  as  to  look  mean 
and  insignificant,  and  all  the»  parts  of  the  design  are  so  badly  put 
together  as  to  lose  in  a  great  measure  the  effect  they  were  designed  to 
produce.  The  northeni  tower  is  223  ft.  high,  the  southern  205  ;  both 
therefoi'e  are  higher  than  those  at  York,  but  instead  of  being  appro- 
priate and  beautiful  adjuncts  to  the  building  they  are  attached  to,  they 
onl)'-  serve  here  to  exaggerate  the  gigantic  incubus  of  a  roof,  208  ft.  in 
height,  which  overpowers  the  building  it  is  meant  to  adorn. 

The  same  is  true  c>f  the  central  spire,  which,  though  higher  than 
that  at  Salisbmy,  being  422  ft.  high  from  the  pavement,  is  reduced 
from  the  same  cause  to  comparative  insignificance,  and  is  utterly  im- 
equal  to  the  purpose  of  relieving  the  heaviness  of  outline  for  which 
this  cathedral  is  reiirarkable.  The  filling  up  of  the  spaces  between  the 
buttresses  of  the  nave  with  chapels  prevents  the  transepts  from  having 
their  full  value,  and  gives  an  awkward  fulness  to  the  design  of  the 
whole. 

All  French  cathedrals  are  more  or  less  open  to  these  objections, 
and  want  in  consequence  that  exquisite  variety  of  outline  and  i>lay 
of  light  and  shade  for  which  the  English  examples  are  so  remark- 
able ;  but  it  still  remains  a  question  how  far  the  internal  loftiness 
and  the  glory  of  their  painted  glass  compensate  for  these  external 
defects.  The  truth  perhaps  would  be  found  in  a  mean  between  the 
two  extremes,  which  has  not  unfortunately  been  attained  in  any  one 
example. 

Besides  the  character  imparted  to  the  buildings  by  mass  and  beauty 
of  outline,  we  must  look  more  closely  at  the  details,  and  see  how  far 
the  general  effect  was  necessarily  sacrificed  for  particular  purposes. 

What  painted  glass  was  to  the  interior  of  a  French  cathedi'al, 
sculpture  was  to  the  exterior.     Almost  all  the  arrangements  of  the 


Chap.  IX.  FRENCH  GOTHIC  CATHEDRALS.  677 

fa9ade  were  modiliL'd  mainly  to  admit  of  its  disi)lay  to  the  greatest 
possible  extent.  The  three  gi-eat  cavernons  porches  of  the  lower  part 
•would  be  ugly  and  unmeaning  in  the  highest  degree  without  the 
sculptures  that  adom  them.  The  galleries  above  are  mere  ranges  of 
niches,  as  unmeaning  without  their  statues  as  the  great  mullioned 
windows  without  their  "  storied  panes."  In  such  lateral  porches  too, 
as  those  for  instance  at  Chartres,  the  architecture  is  wholly  subordinate 
to  the  sculpture ;  and  in  a  perfect  cathedral  of  the  13th  century  the 
buttresses,  pinnacles,  even  the  gargoyles,  every  "  coin  of  vantage," 
tells  its  tale  by  some  image  or  representation  of  some  living  thing, 
giving  meaning  and  animation  to  the  whole.  The  cathedral  thus  be- 
came an  immense  collection  of  sculptures,  containing  not  only  the 
whole  history  of  the  world  as  then  known  and  understood,  but  also 
an  immense  number  of  objects  representing  the  art  and  science  of  the 
middle  ases.  Thus  the  great  cathedrals  of  Chartres  and  Rheims  even 
now  retain  some  5000  figures,  scattered  about  or  grouped  together  m 
various  parts,  beginning  with  the  history  of  the  creation  of  the  world 
and  all  the  wondrous  incidents  of  the  1  st  chapter  of  Genesis,  and  then 
continuing  the  history  through  the  whole  of  the  Old  Testament.  In 
these  sculptures  the  story  of  the  redemption  of  mankind  is  told,  as  set 
forth  in  the  New,  with  a  distinctness,  and  at  the  same  time  with  an 
earnestness,  almost  impossible  to*  surpass.  On  the  other  hand,  ranges 
of  statues  of  kings  of  France  and  other  popular  potentates  carry  on  the 
thread  of  profane  history  to  the  period  of  the  erection  of  the  cathedral 
itself.  Besides  these  we  have,  interspersed  with  them,  a^ whole  system 
of  moral  philosophy,  as  illustrated  by  the  virtues  and  the  vices,  each 
represented  with  an  appropriate  symbol,  and  the  reward  or  punish- 
ment its  invariable  accompaniment.  In  other  parts  are  shown  all  the 
arts  of  peace,  every  process  of  husbandry  in  its  appropriate-  season, 
and  each  manufacture  or  handicraft  in  all  its  principal  forms.  Over 
all  these  are  seen  the  heavenly  hosts,  with  saints,  angels,  and  arch- 
angels. All  this  is  so  harmoniously  contrived  and  so  beautifully  ex- 
pressed, that  it  becomes  a  question  even  now  whether  the  sculpture 
of  these  cathedrals  does  not  excel  the  architecture. 

In  the  middle  ages,  when  books  were  rare,  and  those  who  could 
read  them  rarer  still,  the  sculpture  was  certainly  the  more  valuable ; 
but,  as  Victor  Hugo  beautifully  expresses  it,  "  Ceci  tuera  cela:  le  livre 
tucra  I'Eglise."  The  printing-press  has  rendered  all  this  of  little  value 
to  the  present  generation,  and  it  is  only  through  the  eyes  of  the  artist 
or  the  antiquarian  that  we  can  even  dimly  appreciate  what  was  actual 
instruction  to  the  less-educated  citizens  of  the  middle  ages,  and  the 
medium  through  which  they  learned  the  history  of  the  world,  or  heard 
the  glad  tidings  of  salvation  conveyed  from  God  to  man.  All  this  few, 
if  any,  can  fully  enter  into  now,  but  without  feeling  it  to  at  least  some 
extent  it  is  in  vain  to  attempt  to  appreciate  these  wonderful  buildings. 
In  the  middle  ages  the  sculpture,  the  painting,  the  music  of  the  people 
were  all  fomid  in  the  cathedrals,  and  there  only.  Add  to  this  their 
ceremonies,  their  sanctity,  especially  that  confeiTcd  by  the  relics 
of  saints  and  martyrs  which  they  contained — all  these  things  made 


G78 


FRENCH  AT^f'TIITECTURE. 


EcoK  Til 


these  buildings  all   in  all  to  those  who  erected  them  and  to  those  who 
worshipped  in  them. 

The  eathedral  of  Beanvais  is  generally  mentioned  in  conjnnetion 
with  that  of  Amiens,  and  jnstly  so,  not  only  in  consequence  of  its  local 
proximity,  and  its  being  so  near  it  in  date,  but  also  from  a  general 
similarity  in  style.     Beauvais  is  in  foct  an  exaggeration  of  Amiens, 

and  shows  defects  of  design  more  to  be 
expected  in  Germany  than-  in  France. 
It  was  commenced  5  years  later  than 
Amiens,  or  in  1225,  and  the  works  were 
vigorously  pursued  between  the  years 
1249  and  1207.  The  dedication  did  not 
take  place  till  1272.  The  architects,  in 
their  rivalry  of  their  great  neighbour, 
seeiii  to  have  attempted  more  than  they 
had  skill  to  perform,  for  the  roof  fell  in 
in  1284,  and  wdien  rebuilt,  additional 
strength  was  given  by  the  insertion  of 
another  pier  between  every  two  of  those 
in  the  old  design,  which  served  to  exag- 
gerate the  apparent  height  of  the  pier- 
arches.  Emboldened  by  this,  they  seem 
to  have  determined  to  cany  the  cle- 
restory to  the  unprecedented  height  of 
150  ft.,  or  about  three  times  the  width, 
measuring  from  the  centre  of  one  pier  to 
that  of  the  next.  This,  with  a  very  long- 
nave,  a  very  acute  vatdt,  wide  pier- 
spaces,  and  bold  massive  supports,  might 
have  been  not  only  tolerable,  but  sublime ; 
hxit  as  this  cathedral  wants  all  these  quali- 
ties, the  effect  now  is  only  that  of  a  most 
extraordinary  masonic  tour  deforce,  which, 
though  productive  of  considerable  w^on- 
derment  among  the  gaping  vulgar,  is  de- 
fective in  taste  and  unpleasing. 

These  defects  moreover  were  consi- 
derably increased  by  the  late  period  at 
which  the  greater  part  of  it  was  built. 
The  south  transept  was  commenced  only 
in  1 500  ;  the  northern  one  30  years  later, 
and  only  finished  in  1537  ;  but  even  this 
hardly  gives  the  date  of  the  details,  for  in 
1555  the  architects  of  the  building  being 
seized  with  a  desire  of  rivalling  the  dome  of  St.  Peter's  at  Eome,  which 
was  then  the  object  of  universal  admiration,  undertook  the  construction 
of  a  spire  on  the  intersection  of  the  transepts,  which  they  completed  in 
13  years,  but  which  stood  only  5  years  from  that  time,  having  fiillen 
down  on  the  day  of  the  Ascension  in  the  year  1573.     This  accident  so 


:)45. 


•'V    ' 

Bay  of  Nave  of  Beauvais  Cathedral. 
No  scale. 


Chap.  IX. 


bp:auv-\is. 


(179 


damaged  the  works  under  it  as  to  require  considerable  reconstruction, 
which  is  what  we  see  now.  This  spire,  of  which  the  original  drawings 
still  exist,  was  48()  ft.  in  height ;  and  although,  as  might  be  expected 
from  the  age  in  which  it  was  erected,  not  of  the  purest  design,  must  still 
have  been  a  very  noble  and  beautiful  object,  hardly  inferior  to  that  of 
Chartres,  which  was  only  half  a  century  earlier. 

Taken  altogetlier,  the  cathedral  of  Beauvais  may  be  considered  as 
an  example  of  that  "  vaulting  ambition  that  o'erleaps  itself."  Every 
principle  of  Gothic  art  is  here  carried  to  an  extreme  which  destroys 


546. 


iJoorway,  South  Transept,  Ueiuivais.     From  Cliapuy. 


680 


FRENCH  ARCHITECTURE. 


Rook  ITl. 


the  aim  I'ov  wliidi  it  was  designed,  and  not  only  practically  has  caused 
the  ruin  of  the  Iniilding  and  prevented  its  completion,  but  has  so  far 
destroyed  its  artistic  eftcct  as  to  make  it  an  example  of  what  slionld 
be  avoided  rather  than  of  what  should  be  followed.  It  has  all  tliat 
want  of  repose  and  solidity  which  has  often  been  made  the  reproach 
of  Gothic  architecture.  Notwithstanding  its  size  it  has  no  majesty ; 
and  though  it  has  stood  so  long  it  has  a  painful  ajipearance  of  insta- 
bility :  its  whole  constniction  looks  like  props  applied  to  prevent  its 
falling,  rather  than,  as  in  the  earlier  buildings,  additional  strength 
insuring  durability.  Even  its  details,  as  showai  in  the  woodcut  No. 
546,  representing  one  of  the  transepts,  show  an  attenuation  and 
meagreness  A^ery  Tinusual  in  French  architecture,  and,  though  graceful, 
have  neither  the  power  of  the  earlier  nor  the  i-ichness  characteristic  of 
contemporary  liuildings. 

The  cathedral  of  Noyon  is  an  earlier  example,  and  one  of  the  best 

and  most  elegant  transition  speci- 
mens in  Fi'ance,  having  been  com- 
menced about  the  yeax  1137,  and 
completed,  as  we  now  see  it,  in  1 1  ()7. 
Here  the  circular  arch  had  not  en- 
tirely disappeared.  This  was  o\A"ing 
to  its  early  date,  and  to  its  situatiijn 
near  the  German  border,  and  its 
connection  with  the  see  of  Tour- 
nay,  with  which  it  was  long  united. 
Like  the  sistei'  church  at  that  place, 
it  was  triapsal,  which  gave  it  great 
elegance  of  ari-angement.  The  one 
defect  of  this  form  seems  to  be,  that 
it  does  not  lend  itself  easil}^  to  the 
combination  of  towers,  which  were 
then  so  much  in  vogue. 

In  singular  contrast  to  this  is 
the  neighbouring  cathedral  of  Laim, 
one  of  the  very  few  in  France  which 
have  no  chevet.  It  terminates  with 
a  square  east  end,  like  an  English 
church,  except  that  it  has  there  a 
great  circiilar  window  only  instead 
of  the  immense  wall  of  glass  usually 
adojited  in  this  country.  In  style 
it  more  resembles  the  cathedral  of 
Paris  than  an}-  other,  though  cover- 
ing less  ground  and  smaller  in  all 
its  features.  Its  great  glory  is  its  ci-owning  group  of  towers.  The 
two  western  (with  the  exception  of  their  spires)  and  the  two  at  the 
end  of  the  northern  transept  are  complete.  On  the  southern  side 
tail}-  one  has  been  carried  to  its  full  height,  and  the  central  lantern  is 
now  crowned  by  a  low  pyramidal  roof  instead  of  the  tall  spire  that 


547.     Plan  of  Catliedral  at  Noyon.    From  Kamce 
Monographie.     Scalo  lim  feet  t<i  1  iiicli. 


Chap.  IX. 


LAON. 


r>si 


nn^st  once  have  adorned  it;  but  even  as  they  now  are,  tlie  six  tliat 
remain,  whether  seen  from  the  immediate  ncighljourhood  of  the  Imild- 
in"',  or  from  the  ]ilain  below — for  it  stands  most  nobly  on  the  flat  toj) 
of  a  high  is(  dated  hill — have  a  highly  picturesque  and  pleasing  eifect, 
and  notwithstanding  the  rudeness  of  some  of  its  details,  and  the  defi- 
eiency  of  sculpture,  it  is  in  many  respects  one  of  the  most  interesting 
of  the  cathedrals  of  France. 


548. 


Spires  of  Laon  Cathedral.    From  Dusomcrard. 


One  of  the  earliest  of  the  complete  pointed  Gothic  churches  of 
France  is  that  of  Coiitances  (woodcut  Ko.  549),  the  whole  of  which 
belongs  to  the  first  half  of  the  13th  century,  and  though  poor  in  sculp- 
ture, makes  up  fjr  this  to  some  extent  by  the  elegance  of  its  archi- 
tectural details,  which  are  unrivalled  or  nearly  so  in  France. 

Externally  it  possesses  two  western  spires,  and  one  octagonal  lan- 
tern over  the  intersection  of  the  nave  and  transept,  which,  both  for 
beauty  of  detail  and  appropriateness,  is  the  best  specimen  of  its  class, 
and  only  wants  the  ci-owning  spire  to  make  this  group  of  towers  equal 
to  anything  on  this  side  of  the  Channel. 

Notre  Dame  de  Dijtjn  is  another  example  of  the  same  early  and  ele- 
gant age,  but  ])ossessing  the  Buigundian  peculiarity  of  a  deeply  recessed 
porch  or  narthex,  surmounted  b}"  a  fiT,(;ade  of  two  open  galleries,  one 
over  the  other,  exactly  in  the  manner  of  the  chrn-ches  of  Pisa  and 
Lucca  of  the  11th  and  12th  centuries,  of  which  it  may  be  considered 
an  imitation.    It  is,  however,  as  unsatisfactory  in  pointed  Gothic,  even 


682 


FRENCH  ARCIIITECTUKE. 


Book  III. 


549.    View  of  Cathedral  at  Coutances.     From  Transactions  of  Institute  of  British  Architects. 


with  the  very  best  details,  as  it  is  in  the  pseudo-classical  style  of  Pisa, 

forming  in  either  case  a  reinarlfabl_>' 
unmeaning  mode  of  decoration. 

The  cathedrals  of  Sens  and  Aux- 
erre  are  pure  examples  of  pointed 
architecture.  The  latter  (a.d.  1213) 
internally  rivals  perhaps  even  Cou- 
tances. Nothing  can  be  more  ele- 
gant than  the  jmiction  of  the  lady 
chapel  here  with  the  chevet ;  for 
though  this  is  almost  always  pleas- 
ingly arranged,  the  design  has  been 
unusually  successful  in  this  instance. 
The  two  slender  shafts,  shown  in 
the  woodcut  No.  550,  just  suffice  to 
give  it  pre-eminence  and  dignity, 
without  introducing  any  feature  so 
large  as  to  disturb  the  harmony  of 

550.  Lady  Chapel,  Auxerre.     From  Chapn.v. 


CiiAr.  TX. 


TIIOYES. 


G83 


In  the  groat  clinrcli  at  St.  Quentin,  tlie  five  chapels  of  the  chevet 
have  each  two  pillars,  arranged  similarly  to  these  of  the  lady  chapel 
at  Au\-cri-e  ;  and  though  the  eftect  is  rich  and  varied,  the  result  is  not 
quite  so  hai)py  as  in  this  instance.  Taken  altogether,  few  chevets  in 
France  ai-e  more  perfect  and  beautiful  than  this  almost  unknown 
example. 

The  cathedral  of  Troyes,  comrjienced  in  1206,  and  continued  stea- 
dily for  more  than  three 
centuries,  is  one  of  the 
few  in  France  designed 
oriffinally  with  five  aisles 
and  a  range  of  chapels. 
The  effect,  however,  is 
far  from  satisfactory. 
The  gTeat  width  thus 
given  makes  the  whole 
appear  low,  and  the 
choir  wants  that  expan- 
sion and  dignity  which 
is  so  pleasing  at  Eheims 
and  Chartres.  Still  the 
details  and  design  of  the 
earlier  parts  are  good 
and  elegant ;  and  the 
west  front  (woodcut  No. 
552),  though  belonging 
wholly  to  the  IGth  cen- 
tury, is  one  of  the  most 
pleasing  specimens  of 
flamboyant  work  in 
Franco,  being  rich  with- 
out exuberance,  and 
without  the  bad  taste 
that  sometimes  dis- 
figures works  of  this 
class  and  age. 

Soissons  is  perhaps 
the  most  pleasing  of  all 
these  churches.  Nothing 
can  surpass  the  justness 

of  the  proportions  of  the  central  and  side  aisles  both  in  themselves  and 
to  one  another.  Though  the  church  is  not  large,  and  principally  of 
that  age — the  latter  half  of  the  13th  century — in  which  the  eifect  de- 
pended so  much  on  painted  glass,  now  destroyed  or  disarranged,  it  still 
deserves  a  place  in  the  first  rank  of  French  cathedrals. 

The  two  cathedrals  of  Toul  and  Tours  present  many  points  of  great 
beauty,  but  their  most  remarkable  features  are  their  western  fa(^ades, 
both  of  late  date,  each  possessing  two  towers  terminating  in  octagonal 
lanterns,  with  details  verging  on  the  style  of  the  Eenaissance,  and  yet 


551 


Plan  of  Cathedral  at  Troyes.    From  Amaud,  Voyage  dans  le 
Departement  de  I'Aube.    Scale  100  feet  to  1  inch. 


()84 


FRENCH  AIUnHTKCTUIlK. 


Book  TTT. 


552. 


Fumade  of  Catliedral  at  Tvoyes.    From  Aruaud. 


SO  Gothic  in  design  and  so  charmingly  executed  as  almost  to  lead  ns 
to  believe,  in  sjiite  of  the  fanciful  extravagance  which  it  displays,  th;it 
the  architects  were  approaching  to  something  new  and  heautiful  when 
the  mania  for  classical  details  overtook  them. 

The  two  cathedrals  of  Limoges  and  Dijon  belong  to  tlie  latter  half 
of  the  13tli  century,  and  will  consequently  when  better  known  fill  a 
gap,  painfully  felt  in  the  history  of  the  art. 

It  would  be  tedious  to  enumerate  all  the  great  cathedrals  of  this 
country,  or  to  attempt  to  describe  their  peculiarities  ;  but  we  must  not 
omit  all  mention  of  such  as  Lisieux,  remarkable  for  its  beautiful  fac^ade, 
and  Ev2-eux,  for  the  beauty  of  many  of  its  parts,  though  the  whole  is 
too  much  a  patchwork  to  produce  a  pleasing  effect.  Nevers,  too,  is 
remarkable  as  being  one  of  the  only  two  double  apse  cathedrals  in 
France,  Besanc^on  being  the  other.  At  Nevers  this  was  owing  to  the 
high  altar  having  been  originally  at  the  west,  a  defect  felt  to  be  in- 
tolerable in  the  10th  century,  when  the  church  was  rebuilt,  but  which 
was  done  without  destroying  the  old  sanctuaiy.     Bordeaux,  already 


ClIAl-.    IX. 


BAZAS. 


(i85 


553.  Window  of  C'atlicclru!  :il 
Lyons.  From  Peyre,  INIanuel 
de  rArchitectiiVf. 


total 


mentioned  for  its  noble  nave  without  aisles,  possesses  a  clievet  worthy 
of  it,  and  two  spires  of  great  beauty  at  the  ends  of  the  transepts,  the  only 
spires  so  phu-ed,  I  think,  in  France.  Autun  pos- 
sesses a  K})ire  on  the  intersection  of  the  nave  with 
the  transepts  as  beautiful  as  anything  of  the  same 
class  elsewhere.  The  cathedral  of  Lyons  is  inte- 
resting, as  showing  how  hard  it  was  for  the 
Southern  people  of  France  to  shake  off  their  old 
style  and  adopt  that  of  theii-  Northern  neighbours. 
VV^ith  much  grandeur  and  elegance  of  details,  it  is 
still  so  clumsy  in  design,  that  neither  the  Avhole 
nor  any  of  its  parts  can  be  considered  as  satis- 
factory. The  windows,  for  instance,  as  shown  in 
the  woodcut  (No.  553),  look  more  like  specimens 
of  the  carpenter's  Gothic  of  modem  times  than 
examples  of  the  art  of  the  middle  ages. 

There  still  remains  to  be  mentioned  the  cathe- 
dral at  Rouen.     This  remarkable  building  pos- 
sesses parts  belonging  to  all  ages,  and  exhibits 
most  of  the  beauties,  and  also,  it  must  be  con- 
fessed, most  of  the  defects  of  the  style.     It  was  erected  with  a 
disregard  to  all  iTtle,  yet  so  splendid 
and  so  picturesque  that  we    are   al- 
most driven  to  the  wild  luxuriance  of 
nature    to    find    anything    to   which 
we    can    compare   it.     Internally  its 
nave,    though   rich,   is   painfully  cut  JS 


up  into  small  parts.  The  undivided 
piers  of  the  choir,  on  the  contrary,  are 
too  simple  for  their  adjuncts.  Exter- 
nally, the  transept  towers  are  beautiful 
in  themselves,  but  are  overpowered  by 
the  richness  of  those  of  the  west  front. 
The  whole  of  that  fa(;'ade,  in  spite  of 
the  ruin  of  some  of  its  most  important 
features,  and  the  intrusion  of  much 
modern  vulgarity,  may  be  called  a  ro- 
mance in  stone,  consisting  of  a  profu- 
sion of  the  most  playful  fancies.  Like 
most  of  the  cathedrals  near  our  shores, 
that  of  Eouen  was  designed  to  have  a 
central  spire  ;  this,  however,  was  not 
completed  till  late  in  the  cinque-cento 
age,  and  then  only  in  vulgar  wood- 
work, meant  to  imitate  stone.  That 
being  destroyed,  an  attempt  has  lately 


554.     Plan  of  Cathedral  at  Bazas. 
Lamothe.l 
Scale  100  feet  to  1  incb. 


From 


'  Coinpte  fleiulu  des  Travaux  de  la  Commission  des  Monumen.s,  &c. 
au  Pref'et  de  la  Giroiide,  1848  et  seq. 


Kapport  piesente 


()8(i 


FRENCH  AIlClHTECTlJltE. 


Book  III. 


been  made  to  replace  it  by  still  more  vulgar  iron-work,  leaner  and 
poorer  than  ahm)st  anything  else  of  modem  times. 

In  the  preceding  pages,  all  mention  of  the  cathedrals  of  Bazas  and 
Bourges  has  been  purposely  omitted,  because  they  belong  to  a  diiferent 
type  from  the  above.  The  first  (vpoodcut  No.  554)  is  one  of  the  most 
perfect  specimens  of  the  pure  Gothic  style  in  the  south  of  France.  Its 
noble  tri])le  portal,  filled  with  exquisite  sculptm-e,  and  its  extensive 
chevet,  make  it  one  of  the  most  beautiful  of  its  class.  It  shows  no  trace 
of  a  transept,  a  peculiarity,  as  before  pointed  out,  by  no  means  un- 
common in  the  South.  This,  though  a  defect  as  far  as  external  effect 
is  concerned,  gives  great  value  to  the  internal  dimensions,  the  appear- 
ance of  length  being  far  greater  than  when  the  view  is  broken  by  the 
intersection  of  the  transept. 

This  is  still  more  striking  at  Bourges,  where  the  cathedral,  though 

one  of  the  finest  and 
largest  in  France, 
covering  73,170 
square  feet,  is  still 
one  of  the  shortest, 
being  only  405  ft. 
in  extreme  length ; 
yet,  owing  to  the 
central  aisle  being 
wholly  unbroken, 
it  appears  one  of 
the  longest,  as  it 
certainly  is  one  of 
the  most  majestic 
of  all.  This  cathe- 
dral possesses  also 
another  Southern 
peculiarity  of  more 
questionable  advan- 
tage, in  having  five 
aisles  in  thi-ee  dif- 
ferent heights.  The 
section  (woodcut 
No.  656)  will  ex- 
plain this.  The  cen- 
tral aisle  is  117  ft. 
in  height,  those 
next  to  it  66  ft. 
high,  the  two  outer 
only  28.  These  last 
appear  to  destroy 
the  hannony  of  the 
whole,  for  on  an  inspection  of  the  building,  the  outer  aisles  do  not  appear 
to  belong  to  the  design,  but  look  more  like  afterthoughts.  At  Milan, 
Bologna,  and  other  places  in  Italy,  where  this  gradation  is  common,  this 


555.    Plau  of  Cathedral  at  Bourges.    From  Girardot,  Description  dc  la 
Cathddrale.    Scale  100  feet  to  1  inch. 


CnAi>.  IX. 


1U)ITUGKS— ORLK  A  NS. 


687 


550.        Section  uf  Cathednil  at  Buuvgcs.     Kruiii  drawings  by  F.  IViiiusc,  Esq.,  Archiloct. 

Scale  50  feet  to  1  inch. 

mistake  is  avoided,  and  the  eifect  proportionably  increased  ;  and  except 
that  it  does  not  admit  of  such  large  window  spaces,  I  am  not  quite 
sure  if  such  a  method  would  not  be  preferable  to  the  usual  one.  This 
arrangement  of  the  aisles  was  never  again  fairly  tried  in  France  ;  but 
even  as  it  is,  the  cathedral  of  Bourges  must  rank  after  the  four  first  men- 
tioned as  the  finest  and  most  perfect  of  the  remaining  edifices  of  its 
class  in  that  country.  It  is  singularly  beautiful  in  its  details,  and  happy 
in  its  main  proportions ;  for  owing  to  the  omission  of  the  transept,  the 
length  is  exquisitely  adapted  to  the  other  dimensions.  Had  a  transept 
been  added,  at  least  100  ft.  of  additional  length  would  have  been 
required  to  restore  the  harmony ;  and  though  externally  it  would  no 
doubt  have  gained  by  such  an  adjunct,  this  gain  would  not  have  been 
adequate  to  the  additional  expense  incurred. 

The  greater  part  of  the  western  fa(;'ade  of  this  cathedral  is  of  a  later 
date  than  the  building  itself,  and  is  extended  beyond  the  proportions 
required  for  effect  so  as  to  overpower  the  rest  of  the  building,  so  that 
it  is  only  from  the  sides  or  the  eastern  end  that  all  the  beauty  of  this 
church  can  bo  appreciated. 

As  far  as  regards  size  or  richness  of  decoration,  the  cathedral  of 
Orleans  deserves  to  rank  as  one  of  the  very  first  in  France,  and  is 
remarkable  as  the  only  Gothic  cathedral  erected  in  Europe  since  the 
middle  ages.  The  original  church  on  this  site  having  been  destroyed 
by  the  Calvinists,  the  present  building  was  commenced  in  the  year 
1601  by  Henry  IV.  of  France,  and  although  the  works  proceeded  at 
first  with  great  vigour,  and  the  work  was  never  wholly  discontinued, 
it  is  even  now  hardly  completed. 

Considering  the  age  in  which  it  was  built,  and  the  contemporary 


688 


FRENCH  ARCHITECTURE. 


Rook  III. 


Kpecimcns  of  .so-L-allod  Gothic  art  erected  in  France  and  England,  it 
is  wonderful  how  little  of  classical  admixture  has  been  allowed  to 
creep  into  the  design  of  this  building,  and  how  nearly  it  follows  in  all 
essentials  the  style  it  professes  to  imitate.  In  plan,  in  arrangement, 
and  indeed  in  details,  it  is  so  correct,  that  it  requires  considerable 
knowledge  to  define  the  diiference  between  this  and  an  older  building 
t^)f  the  same  class.  Still  there  is  a  wide  difference,  which  makes  itself 
felt,  though  not  easy  to  be  described.  It  consists  in  the  f;ict  that 
the  old  cathedrals  were  built  by  men  who  had  a  tiiie  percejition  of 
their  art ;  while  the  modem  example  only  bears  evidence  of  a  well 
learnt  lesson  distinctly  repeated,  but  Avithout  any  real  feeling  for  the 
subject.  This  want  betrays  itself  in  an  unmeaning  repetition  of  parts,  in 
a  deficiency  of  depth  and  richness,  and  a  general  poverty  of  invention. 
It  would  not  be  difficult  to  select  out  of  the  collegiate  churches 

of  France  as  complete 
a  series  as  of  the  cathe- 
drals, thougli  inferior 
in  size.  But  having 
already  gone  through 
the  one  class  of  build- 
ings, Ave  must  confine 
ourselA'es  to  a  brief  no- 
tice of  the  other.  The 
church  of  Charit*''  sur 
Loire  was  one  of  the 
most  pictiu'esque  and 
l)eaiitiful  in  France.  It 
is  nowpartially  ruined, 
Hioiigh  still  ]etaining 
enough  of  its  original 
features  to  illustrate 
clearly  the  style  to 
which  it  belongs.  Ori- 
ginally the  church  was 
about  350  ft.  in  length 
by  90  in  breadth.  One 
tower  of  the  western 
front,  one  aisle,  and 
the  whole  of  the  choir 
still  remain,  and  be- 
long without  doubt  to  the  church  dedicated  in  1106  by  Pope  Pascal. 
The  presence  of  the  pointed  form  in  the  pier  arches  and  A'aults  has 
indiTced  some  to  believe  that  it  belongs  to  the  age  of  Philip  Augustus, 
about  a  century  later,  when  the  church  was  restored  after  a  great  fii^e. 
Its  southern  position,  however,  the  circumstance  of  its  being  the  earliest 
daughter  church  of  the  abbey  of  Cluny,  and  the  Avhole  style  of  the 
building  are  proofs  of  its  earlier  age.  All  the  decorative  parts,  and  all 
the  external  openings,  still  retain  the  circular  form  as  essentially  as  if 
the  other  had  never  been  invented. 


557. 


View  ill  the  Choir  ol  ChariU-  sur  Luire. 
l)y  the  Authi>r. 


Fi'om  a  sketch 


Chap.  IX. 


LA  CHARITE,  PONTIONY. 


689 


The  most  remarkable  feature  in  this  cliurcli  is  the  exuboranco  of 
ornament  with  which  all  the  parts  are  decorated,  so  very  unlike  the 
massiA-e  rudeness  of  the  contemporary  Xoiman  or  Northern  styles. 
The  capitals  of  the  pillars,  the  arches  of  the  triforium,  the  jambs  of 
the  windows  and  the  cornices,  all  show  a  refinement  and  love  of 
ornament  characteristic  of  a  far  more  advanced  and  civilized  people 
than  those  of  the  northern  provinces  of  France. 

Among  those  who  wei-e  present  at  the  dedication  of  this  church 
was  the  Abbe  Suger,  then  a  gay  3'^oung  man  of  20  yeare  of  age,  who 
about  30  years  later  in  the  plenitude  of  his  power  commenced  the 
building  of  the  abbey  of  St.  Denis,  near  Paris,  the  west  front  of 
which  was  dedicated  in  the  year  1140,  and  the  rest  of  the  church 
built  "stupenda  celeritate,"  and  dedicated  in  1144.  This,  though 
certainly  not  the  earliest,  may  be  considered  as  the  typical  example  of 
the  earliest  pointed  Gothic  in  France.  It  temiinated  the  era  of  transi- 
tion, and  fixed  the  epoch  when  the  Northern  pointed  style  became 
supreme,  to  the  total  excKi- 


sion  of  the  round  arched 
style  that  preceded  it.  The 
effect  of  Suger's  chxirch  is 
now  destroyed  by  a  nave  of 
the  14th  century — of  great 
beauty  it  must  be  confessed 
— which  is  interpolated  be- 
tween the  western  front  and 
the  choir,  both  which  re- 
main in  all  essentials  as  left 
by  hmi,  and  enable  us  to 
judge  without  a  doubt  of 
the  state  of  the  art  at  the 
time  of  the  dedication  of 
the  church. 

A  few  years  later  was 
commenced  the  once  cele- 
brated abbey  of  Pontigny, 
near  Auxerre,  probably  in 
1 1 .50,  and  completed,  as  we 
now  find  it,  within  1 5  or  20 
years  from  that  date. 

Externally    it    displays 
an  almost  barn-like  simpli- 
city, having  no  towers  or 
pinnacles — plain  undivided 
windows,  and  no  ornament 
of  any  sort.    The  same  sim- 
plicity reigns  in  the  interior,  but  the  varied  form,  and  play  of  light  and 
shade,  here  relieve  it  to  a  sufficient  extent,  and  make  it  altogether,  if 
not  one  of  the  most  charming  examples  of  its  age,  at  least  one  of  the 
most  instiaictive,  as  showing  how  much  effect  can  be  obtained  with  the 

2   Y 


558.    Chevet,  Pontigny.    Kium  CliaiUuu  dcs  iJaiios. 


noo 


FRENCH  ARCHITECTURE. 


Rook  IH. 


smallest  possible  amount  of  ornament.  In  obedience  to  ilio  rales  of  the 
Cistercian  order,  it  ncillicr  had  towers  nor  painted  glass,  which  last  cir- 
ciiinstance  perhaps  adds  to  its  beauty,  as  we  now  see  it,  for  the  Avindows 
being  small,  admit  just  light  enough  for  eifect,  without  the  painful 
glare  that  noAv  streams  through  the  large  mullioned  windows  of  the 
cathedral  of  Auxerre. 

To  the  Englishman,  Pontigny  should  be  more  than  usually  inte- 
resting, as  it  was  hero  that  the  three  most  celebrated  archbishops  of 
Canterbury,  Bccket,  Langton,  and  Edmund,  found  an  asylum  when 
driven  by  the  troubles  of  their  native  land  to  seek  a  refoge  abroad, 
and  the  bones  of  the  last-named  sainted  prelate  are  said  still  to  remain 
in  the  c/idssc,  I'epresentod  in  the  woodcut,  now  and  for  centuries  the 
great  object  of  worship  here. 

About  a  century  after  the  erection  of  these  two  early  specimens, 

we  have  two  others 
whose  dates  are  as- 
certained, which  ex- 
hibit the  pointed 
style  in  its  greatest 
degree  of  perfection. 
The  first,  the  Sainte 
Chapelle  in  Paiis, 
was  commenced  in 
1241,  and  dedicated 
in  1244;  the  other, 
the  church  of  St. 
Urban  at  Troyes, 
was  begun  in  1262, 
and  the  choir  and 
transept  completed 
in  1266.  Both  arc 
only  fragments  — 
choirs  to  which  it 
was  originally  in- 
tended to  add  naves 
of  considerable  ex 
tent.  The  propor- 
tions of  the  Sainte 
Chapelle  are  in  con- 
sequence somewhat 
too  tall  and  short;  but 
the  noble  simplicity 
of  its  design,  and  the 
majesty  of  its  tall 
windows,  which  still 

559.      West  Front  of  St.  Marie  deVEpine.    From  Dusomerard.  retain  a  great  portion 

of  their  painted  glass, 
and  the  beauty  of  all  its  details,  render  it  one  of  the  most  perfect  exam- 
ples of  the  style  at  its  culminating  point  in  the  reign  of  St.  Louis. 


Chap.  IX. 


ST.  MARIE  DE  L'EPINE— ST.  OUEN. 


691 


Tho  other  was  founded  by  Pope  Urban  IV.,  a  native  of  Troyos, 
and  would  have  been  completed  as  a  large  and  magnificent  church,  but 
for  tho  opposition  of  some  contumacious  nuns,  who  had  sufficient 
power  and  influence  even  in  those  days  to  thwart  the  designs  of  the 
Tope  himself.  Its  great  perfection  is  the  beauty  of  its  details,  in 
which  it  is  unsuii^assed  by  anything  in  France  or  in  Germany ;  its 
worst  defect  a  certain  exaggerated  temerity  of  constraction,  which 
shows  how  fast,  even  then,  architecture  was  passing  from  the  hands  of 
the  true  artist  into  those  of  the  mason,  whose  attempts  to  astonish  by 
wonders  of  construction  then,  and  ever  afterwards,  completely  marred 
tho  progress  of  the  art  which  was  thought  to  be  thereby  promoted. 

About  seventy  years  after  this  we  come  to  the  choir  of  St.  Ouen, 
and  to  another  beautiful  little  church,  St.  Marie  de  I'Epine,  near 
Chalons  sur  Marne,  commenced  ap- 
parently about  1329,  though  not 
completed  till  long  afterwards.  It 
is  small — a  miniature  cathedral  in 
fact — like  our  St.  Mary  Eedcliffe, 
which  in  many  respects  it  resem- 
bles, but  is  a  perfect  bijou  of  its 
class.  One  western  spire  remains, 
the  other  was  destroj^ed  to  make 
room  for  a  telegraph.  It  is  not 
only  beautiful  in  itself,  but  inte- 
resting as  almost  the  only  example 
of  an  open-work  spire  in  France. 

The  church  of  St.  Ouen,  at 
Rouen,  was  beyond  comparison  tho 
most  beautiful  and  perfect  of  the 
abbey  edifices  of  France.  This 
was  commenced  by  Marc  d' Argent 
in  the  year  1318,  and  carried  on 
uninterruptedly  for  21  years.  At 
his  death  the  choir  and  transepts 
were  completed,  or  very  nearly  so. 
The  English  wars  intermpted  at 
this  time  the  progress  of  this,  as  of 
many  other  buildings,  and  the 
works  of  tho  nave  were  not  seem- 
ingly resumed  till  about  1490,  and 
25  years  later  the  beautiful  western 
front  was  commenced. 

Except  that  of  Limoges,  the 
choir  is  almost  tho  only  perfect 
building  of  its  ago,  and  being  nearly 
contcmporaiy  with  the  choir  at  Co-  sou. 
logno  (1276  to  1321),  affords  a 
moans  of  comparison  between  the  two  stylos  (jf  Germany  and  France  at 
that  age,  and  entirely  to  the  advantage  of  the  French  example,  which, 

2  Y  2 


I 'lull  ul  Church  of  St.  Ouen  ;it  lloueii.     From 
l'(>yrdo's  Manuel.     Scale  100  ft.  to  1  in. 


092 


FRENCH  ARCHITECTURE. 


Book  111. 


though  very  nnich  smaller,  avoids  all  thu  more  glaring  faults  ui"  the 
other. 

Nothing  indeed  can  exceed  the  beauty  of  proportion  of  this  most 
elegant  church ;  and  except  that  it  wants  the  depth  and  earnestness  of 


pr^"^" 


561. 


Gliurcu  ol  St.  Ouen  at  Kouen,  from  the  S.E.    Fiom  Chapny. 


the  earlier  examples,  it  may  be  considered  as  the  most  beautiful  thin '2,' 
of  its  kind  in  Europe.  The  proportion  too  of  the  nave,  transepts,  ainl 
choir  to  one  another  is  remarkably  happy,  and  a  most  striking  contiast 
to  the  very  imperfect  proportions  of  Cologne.     Its  three  towers  alsi^ 


Chap.  IX. 


ST.  OUEN'S,  ROUEN. 


693 


would  have  formed  a  perfect  groni^  as  originally  designed,  but  the 
central  one  was  not  completed  till  so  late,  that  its  details  have  lost  the 
asi)iring  character  of  the  building  on  which  it  stands,  and  the  western 
spires,  as  rebuilt  within  the  last  ten  years,  are  incongruous  and  inap- 
propriate ;  whereas  had  the  original  design  been  carried  out  according 
to  the  draAvings  which  still  exist,  it  would  have  been  one  of  the  most 
beautiful  faq'ades  known  anjnvhere.  The  diagonal  position  of  the 
towers  met  most  happily  the  difficulty  of  giving  breadth  to  the  facade 
without  placing  them  beyond  the  line  of  the  aisles,  as  is  done  in  the 
cathedral  of  Eouen,  and  at  the  same  time  gave  a  variety  to  the  per- 
spective which  must  have  had  the  most  pleasing  effect.  Had  the  idea 
occurred  earlier,  few  western  towers  would  have  been  placed  other- 
wise ;  but  the  invention  came  too  late,  and  in  modern  times  the  very 
traces  of  the  arrangement  have  been  obliterated. 

The  style  of  the  choir  of  this  church  may  be  fairly  judged  from  the 
view  of  the  southem 

1^ 


porch  (woodcut  Ko. 
562).  This  has  all 
that  perfection  of  de- 
tail which  we  are 
accustomed  to  ad- 
mire in  Cologne  Ca- 
thedral, and  the 
works  of  the  time  of 
our  second  Edward, 
combined  with  a  de- 
gree of  lightness  and 
grace  peculiar  to  this 
church.  The  wood- 
cut is  too  small  to 
show  the  details  of 
the  sculpture  in  the 
tympanum  above  the 
doors,  but  that  too  is 
of  exquisite  beauty, 
and  being  placed 
where  it  can  be  so 
well  seen,  and  at  the 
same  time  so  per- 
fectly protected,  it 
heightens  the  archi- 
tectural design  with- 
out in  any  way  seem- 
ing to  interfere  with  it.  This  is  a  somewhat  rare  merit  in  French 
portals.  In  most  of  these  it  is  evident  that  the  architect  has  been  con- 
trolled in  his  design  in  order  to  make  room  for  the  immense  quantity 
of  sculpture  which  usually  crowds  them.  On  the  other  hand,  the 
position  of  the  figures  is  ofteia  forced  and  constrained,  and  the  bas- 
reliefs  nearly  unintelligible,  from  the  architect  having  been  unable 


562.    Southern  Porch  ot  St.  Ouen  s  at  Kouen.    trom  Chupuy. 


C94  FEENCFI  ARCHITECTURE.  Book  III. 

to  give  the  sculptor  that  free  space  which  was  requisite  for  the  full 
development  of  his  ideas. 

It  would  bo  easy  to  select  numerous  examples  from  the  collegiate 
and  parish  churches  of  France  to  extend  this  series.  Our  limits  will 
not,  however,  admit  of  the  mention  of  more  than  one  other  instance. 
The  sepulchral  church  of  Brou  en  Bresse  was  erected  from  1511  to 
1 580,  by  Margaret  of  Austria,  daughter  of  Maximilian,  and  aunt  of 
(Jhai'les  v.,  emperor  of  Germany.  It  was  therefore  nearly  contempo- 
rary with  Henry  VII. 's  Chapel  at  Westminster,  and  thus  affords  the 
means  of  comparison  between  the  English  and  French  styles  of  the 
day,  which  is  wholly  in  favour  of  our  own :  both  arc  the  most  florid 
specimens  of  their  class  in  either  country,  but  at  Brou,  both  externally 
and  internally,  all  majesty  of  form  and  constructive  propriety  are  lost 
sight  of;  and  though  we  wonder  that  stone  could  be  cut  into  such  a 
marvellous  variety  of  lace-like  forms,  and  are  dazzled  by  the  splendour 
of  the  whole,  it  is  with  infinite  pleasure  that  wo  turn  from  these 
elaborate  specimens  of  declining  taste  to  an  earlier  and  purer  style. 
Fascinating  as  some  of  these  late  buildings  undoubtedly  are  from  the 
richness  of  decorative  fancy  that  reigns  in  every  detail,  still  they  can 
only  be  regarded  as  efforts  of  the  arts  of  the  carver  and  stonemason, 
and  not  of  the  architect  or  sculptor  properly  so  called. 

In  the  city  of  Eouen  wo  also  find  the  beautiful  church  of  St.  Maclou 
(1432-1500),  a  gorgeous  specimen  of  the  later  French  style,  present- 
ing internally  all  the  attenuation  and  defects  of  its  age  ;  but  in  the  five 
arcades  of  its  beautiful  western  front  it  displays  one  of  the  richest 
and  most  elegant  specimens  of  Flamboyant  work  in  Franco.  It  also 
shows  what  the  facade  of  St.  Ouen  would  have  been  if  completed  as 
designed.  This  church  (mce  possessed  a  noble  central  tower  and  spire, 
destroyed  in  1794.  When  all  this  was  complete,  few  churches  of  its 
age  could  have  competed  with  it. 

St.  Jacques  at  Dieppe  is  another  church  of  the  same  age,  and  pos- 
sessing the  same  lace-like  beauty  of  detail  and  elaborate  finish,  which 
channs  in  spite  of  soberer  reason,  that  tells  us  it  is  not  in  stone  that 
such  vagaries  should  be  attempted.  Abbeville,  St.  Eiquier.  and  all 
the  principal  towns  throughout  that  part  of  Franco  are  rich  in  speci- 
mens of  the  late  Gothic,  of  which  wo  are  now  speaking.  These 
specimens  are  beautiful  in  many  respects,  but  in  almost  all  inferior  to 
those  of  the  glorious  epoch  which  preceded. 


i 


Chap.  X.  PILLARS.  (595 


CHAPTER   X. 


CONTENTS. 

(Jothic  details —  Pillars  —  Windows  —  Circular  windows  —  Hays  —  Vaults  —  But- 
tresses —  Pinnacles  —  Spires  —  Decoration  —  Construction  —  Furniture  of 
churches  —  Domestic  architecture. 


Although  in  the  i^^'ccoding  pages,  in  describing  the  principal 
churches  of  Franco,  mention  has  been  made  of  the  various  changes  of 
detail  which  took  place  from  the  time  of  the  introduction  of  the  pointed 
style  till  its  abandonment  in  favour  of  tlio  revived  classical,  still  it 
seems  necessary  to  recapitulate  the  leading  changes  that  were  intro- 
duced. This  will  be  most  fitly  dune  before  we  leave  the  subject  of 
French  architecture,  that  being  on  the  whole  the  most  complete  and 
haitnonious  of  all  the  pointed  styles,  as  well  as  the  earliest. 

Pillars. 

Of  these  details,  the  first  that  arrests  the  attention  of  the  inquirer 
is  the  form  of  the  pillars  or  piers  used  in  the  middle  ages,  inasmuch  as 
it  is  the  feature  that  bears  the  most  immediate  resemblance  to  the 
typical  foiins  of  preceding  styles.  Indeed,  the  earlier  pillars  in  the 
roimd  arched  style  were  virtually  iiido  imitations  of  Eoman  originals, 
made  so  thick  and  heavy  as  to  bear  without  apparent  stress  the  whole 
weight  of  the  arches  they  supported,  and  of  the  superincumbent  wall. 
This  increase  of  the  weight  laid  upon  the  pillars,  and  consequently  in 
their  strength  and  heaviness,  was  the  great  change  introduced  intt)  the 
art  of  building  in  the  early  round  Gothic  style.  With  the  same  requii'e- 
meuts  the  classic  architects  either  must  have  thickened  their  pillars 
immensely,  or  coupled  them  in  some  way.  Indeed  the  Komans,  in 
such  buildings  as  the  Colosseum,  placed  the  pillars  in  front  and  a  pier 
behind,  which  last  was  the  virtual  support  of  the  wall.  The  Gothic 
architects  imjiroved  on  this  by  adding  a  pillar,  or  rather  a  half  pillar, 
on  each  side,  to  receive  the  pier  arches,  and  carrying  up  those  behind 
and  in  fiont  to  support  the  springing  of  the  vault  or  roof,  instead  of  the 
useless  entablature  of  the  Eomans. 

By  this  means  the  pier  became  in  plan  what  is  represented  in 
figs.  1  and  2  in  the  diagram  (woodcut  No.  5G3).  Sometimes  it  was 
varied,  as  represented  in  fig.  3,  where  the  angle-shafts  Avere  only  used 
to  lighten  the  heaviness  of  the  central  mass;  in  other  exainjtles  both 
these  modes  are  combined,  as  in  fig.  4,  which  not  only  constructively, 
but  artistically,  is  one  of  the  niost  beautiful  combinations  which  the 
square  forms  are  capable  of,  combining  great  strength  with  great  light- 
ness of  appearance,  and  variety  of  light  and  shade. 


696  FRENCH  ARCHITECTTTRE,  Book  ITT. 

These  four  forms  may  bo  said  to  bo  typical  in  the  South,  where  the 
style  was  derived  so  directly  from  the  Roman  square  pier  combined 
with  an  attached  circular  pillar. 


J 

L. 


-^^  .A. 


A'" 


■0.      c,^ 


"b 


563.  Diagram  of  Plans  of  PiUars. 

In  the  North  the  Normans,  and  generally  speaking,  all  the  Frankish 
tribes,  used  the  round  pillar  in  preference  to  the  square  pier,  and 
consequently  the  variations  were  as  shown  in  figs.  5,  6,  7,  and  8; 
which,  though  forming  beautiful  combinations,  wanted  the  accentua- 
tion produced  by  the  contrast  between  the  square  and  round  forms. 

The  architects  after  a  time  seem  to  have  felt  this,  and  tried  to 
remedy  it  by  introducing  ogee  forms  and  sharp  edges,  with  deep 
luidercut  shadows,  thus  applying  to  the  pillars  those  forms  Mdiich  had 
been  invented  for  the  mouldings  of  the  ribs  of  the  vaults,  and  for  the 
tracery  of  the  windows.  The  expedient  was  perfectly  successful  at 
first,  and  as  long  as  it  was  practised  in  moderation,  gave  rise  to  some 
of  the  most  beautiful  forms  of  pillars  to  be  found  in  any  style.  It 
proved,  however,  too  tempting  an  opjDortunity  for  the  indulgence  of 
every  sort  of  quirk  and  quibble  ;  and  after  passing  through  the  shapes 
shown  in  figs.  9  and  10,  where  the  meaning  of  all  the  parts  is  still 
sufficiently  manifest,  it  became  as  complicated  as  fig,  11,  and  some- 
times even  much  more,  so  as  to  lose  all  meaning  and  all  beauty, 
besides  becoming  very  expensive  and  difficult  to  execute,  so  that  in 
later  times  the  architects  reverted  either  to  circular  pillars,  or  to  such 
a  form  as  that  shown  in  fig.  12,  introduced  in  the  16th  century.  The 
change  may  have  l^een  partly  introduced  from  motives  of  economy, 
and  also  to  some  extent  from  a  desire  to  imitate  the  flutings  of  classical 
pillars :  but  from  whatever  motive  it  arose,  it  is  singularly  unmeaning 
and  inartistic ;  and  as  the  capital  was  at  the  same  time  omitted,  the 
whole  pillars  t«ok  an  appearance  of  cold  poverty,  entirely  at  variance 
with  the  true  spirit  of  Gothic  art.  This  last  change  showed,  per- 
hajis  more  clearly  than  those  introduced  into  &.\\j  other  feature,  how 
entirely  the  art  had  died  away  before  the  classical  styles  super- 
seded it. 


Cfiap.  X. 


WINDOWS. 


697 


Windows, 

Before  the  use  of  painted  glass,  \erj  small  apertures  sufficed  to 
intrf>ducc  tlio  required  quantity  of  light  into  the  churches.  These 
retained  their  circular  ai'ched  heads  long  after  the  pointed  foiTQ  per- 
vaded the  vaults  and  pier  arches,  because  the  architects  still  thought 
that  the  most  beautiful,  and  it  occupied  so  small  a  portion  of  the 
wall  spaces  that  its  lines  neither  came  in  contact  nor  interfered  with 
the  constructive  lines  of  the  building  itself:  as  soon  as  it  was  required 
to  enlarge  them  for  the  purpose  of  receiving  large  pictures,  the  circular 
form  was  no  longer  possible. 

The  woodcut  No.  537,  showing  the  side  elevation  of  Notre  Dame  at 
I'aris,  illustrates  well  three  stages  of  this  process 
as  practised  in  the  12th  and  13th  centuries.  It 
exhibits  first  the  large  undivided  window  without 
mullions,  the  glass  being  supported  by  strong  iron 
bars  ;  next,  that  with  one  mullion  and  a  circular 
rose  in  the  head ;  and  lastly,  on  the  lower  story,  a 
completely  traceried  window.  The  transition  from 
the  old  small  window  to  the  first  of  these  is  easily 
explained,  and  the  woodcut  No.  564,  representing 
one  of  the  Avindows  in  St.  Martin  at  Paris,  will 
explain  the  transition  from  the  first  to  the  second. 
Instead  of  one  large  undivided  opening,  it  was 
often  thought  more  expedient  to  introduce  two 
lancets  side  by  side ;    but  as  these  never  filled,  or  534.   window,  st.  Martin, 

could  fill,  the  space  of  one  bay  so   as  to   follow  its      Pa^r-^j^Jrom' Paris  Archeo^ 

principal  lines,  it  became  usual  to  introduce  a  cir- 
cular window  of  greater  or  less  size  between  their  heads.  This,  with  the 
rude  constniction  of  the  age,  presented  certain  difficulties,  which  were 
obviated  by  carrying  the  masonry  of  the  vault 
through  the  wall  so  as  to  form  a  discharging  arch. 
When  once  this  was  done  it  required  only  a  glance 
from  an  experienced  builder  to  see  that  if  the 
discharging  arch  were  strong  enough,  the  whole 
of  the  wall  between  the  buttresses  might  be  re- 
moved without  endangering  the  safety  of  the 
building.  This  was  accordingly  soon  done.  The 
pier  between  the  two  lancets  became  attenuated 
into  a  mullion,  the  circle  lost  its  independence, 
and  was  grouped  with  them  under  the  discharging 
arch,  which  was  carried  down  each  side  in  boldly 
splayed  jambs,  and  the  whole  became  in  fact  a 
traceried  window. 

In  the  cathedral  at  Chartres  we  have  examples  of  the  two  extremes 
of  these  transitional  windows.  In  the  windows  of  tJie  aisles  of  the 
nave  (woodcut  No.  565)  the  circle  is  small  and  insignificant,  and  only 
serves  to  join  together  the  two  lancets.     In  the  clerestory  (woodcut 


565.     Window  in  Nave  of 
Cathedral  at  Chartres. 


698 


FRENCH  ARCHITECTURE. 


Book  III. 


568.    Window  in  Cboir  of  Cathe 
dr.il  at  Chartres. 


No.  560),  which  is  somowhat  later,  the  circle  is  all  important  and 
quite  overpowers  tho  lower  part.  Hero  it  is  in  fact  a  circular  window, 
supported  by  a  rectilinear  substructure.     In  both  these  instances  the 

discliarging  arch  still  retains  its  circular  form, 
and  the  tracery  is  still  imperfect,  inasmuch  as 
all  the  openings  are  only  holes  of  various  fomis 
cut  into  a  flat  suiface,  whereas  to  make  it  per- 
fect, it  is  necessary  that  the  lines  of  two  conti- 
guous openings  should  blend  together,  beiug  se- 
parated by  a  straight  or  curved  moulded  mullion, 
and  not  merely  pierced  as  they  are  in  this  in- 
stance. This  may  perhaps  be  better  illustrated  by 
one  of  the  windows  of  the  side  aisles  at  Eheims, 
where  the  pointed  Gothic  window  has  become 
complete  in  all  its  essential  parts.  Even  here, 
it  will  bo  observed  how  awkwardly  the  circle 
fits  into  the  spherical  triangle  of  the  upper  part 
of  the  window.  Indeed,  there  is  an  insuperable 
awkwardness  in  the  small  triangles  necessarily 
left  in  fitting  circles  into  the  spaces  above  the 
lancets,  and  beneath  the  pointed  head  of  the 
openings.  When  four  or  five  lights  were  used 
instead  of  two,  this  defect  became  more  appa- 
rent ;  and  even  in  the  example  from  St.  Ouen 
(woodcut  No.  568),  one  of  the  most  beautiful  in 
France,  the  architect  has  not  been  able  to  ob- 
viate the  discordance  between  the  conflicting 
lines  of  the  circle  and  spherical  triangle.  At 
last,  after  two  centuries  of  earnest  trial,  the 
builders  of  these  days  found  themselves  con- 
strained to  abandon  entirely  these  beautiful 
constructive  geometric  forms  for  tracery  of  a 
more  manageable  nature,  and  in  place  of  the 
circle,  they  invented  first  a  flowing  traceiy,  of 
which  the  window  at  Chartres  (woodcut  No. 
569)  is  an  exquisite  example ;  and  then  having  shaken  oft"  the  trammels 
of  constnictive  foim,  launched  at  once  into  all  tho  vagaries  of  the 
flamboyant  style.  In  this  style,  stone  tracery  was  made  to  look  bent 
and  twisted,  as  if  it  had  been  willow  wands.  Its  forms,  it  rxmst  be 
confessed,  were  always  graceful,  but  constnictively  weak,  and  frequently 
extravagant,  showing  a  complete  contrast  with  the  contemporaiy  per- 
pendicular style  in  England.  That  failed  from  the  stifihess  of  its  forms ; 
this  from  the  fantastic  pliancy  with  which  so  rigid  a  material  as  stone 
was  used.  Greatness  or  grandeur  was  as  impossible  in  flamboyant 
tracery,  as  grace  and  beauty  were  with  the  perjiendicular  style ;  still 
for  domestic  edifices,  and  for  the  smaller  churches  erected  in  the 
16th  century,  it  must  be  confessed  the  flamboyant  style  has  a  charm 
it  is   impossible   to   resist.      It   is  so   graceful   and   so  fantastically 


567.       Window  at  Klioinis. 


Chap.  X. 


CIRCULAR  WINDOWS. 


699 


brilliant,  that  it  captivates  in  spite  of  our  soberer  reason,  and  lends 
an  elegance  to  every  edifice  whore  it  is  found,  only  paralleled  among 
the  graceful  fancies  of  the  Saracenic  architects  of  the  best  age. 


568.    Window  at  St.  Ouen. 


569.    Window  at  Cliartres. 


Circular  Windows. 

By  far  the  most  brilliant  examples  of  this  class  in  France  are  to  be 
found  among  the  great  circular  windows  with  which  the  west  ends 
and  transepts  of  the  cathedrals  were  adorned.  There  is,  I  believe,  no 
instance  in  Franco  of  the  great  straight  mullioned  windows  of  which 
our  architects  were  so  fond.  Even  where  the  east  end  terminates 
squarely,  as  at  Laon,  it  has  a  great  rose  window.     There  can  be  little 


570.    Wcat  Window.  Ohai'trcb. 


571      Transept  Window,  Chartres. 


700 


FRENCH  ArvCIIITECTURE. 


Book  ITT. 


doubt  that  tlio  circle,  so  long  as  it  was  wholly  adhered  to,  was  the 
iiohlest  form  architecturally,  both  externally  and  internally ;  but  when 
the  triforivim  below  it  was  pierced,  and  the  lower  angles  outside  the 
circle  filled  with  tracery,  so  as  to  make  it  into  something  like  our 
great  windows,  the  result  was  a  confusion  of  the  two  modes,  which 
preserved  the  advantages  of  neither. 

Of  the  earlier  circiilar  windows,  one  of  the  finest  is  that  in  the 
western  front  at  C'hartres  (woodcut  No.  570),  of  imperfect  tracery,  like 
the  greater  part  of  that  cathedral,  but  of  great  size  and  majesty.  Its 
diameter  is  39  ft.  across  the  openings,  and  44  ft.  6  in.  across  to  the 
outer  mouldings  of  the  cii'cle.  Those  of  the  transepts  are  smaller, 
being  only  33  ft.  across  the  opening,  but  show  a  considerable  advance 
in  the  art  of  tracery,  which  by  the  time  at  which  they  were  executed 
was  becoming  far' more  perfect. 

If  space  admitted,  it  would  be  easy  to  select  examples  to  trace  the 
progress  of  the  invention  between  these  early  efforts  and  the  almost 
perfect  window  that  adorns  the  centre  of  the  west  front  at  Eheims 
(woodcut  No.  572) ;  and  again  from  this  to  that  at  Evreux  (woodcut 
No.  573).     In  the  latter  instance,  the  geometric  forms  have  given  way 


572. 


West  Window,  Rheims. 


573. 


West  Window,  Evreux. 


to  the  lace-work  of  flowing  tracery,  of  which  this  is  a  pleasing  example. 
It  is  further  remarkable  in  one  respect,  that  all  the  parts  of  the  tracery 
or  mullions  are  of  the  same  thickness,  whereas  it  is  usual  in  flowing  or 
flamboyant  tracery  to  introduce  a  considerable  degree  of  subordination 
into  the  parts,  dividing  them  into  greater  or  smaller  ribs,  thus  avoiding 
confusion  and  giving  it  a  constructive  appearance  which  it  otherwise 
would  not  possess.  This  is  very  apparent  in  such  a  window  as  that 
which  adorns  the  west  front  of  St.  Ouen,  at  Eouen,  where  the  parts  are 
distinctly  subordinated  to  one  another,  and  have  consequently  that 
strength  and  character  which  it  is  so  difficult  to  impart.  It  also 
exemplifies  what  was  before  alluded  to,  viz.,  the  mode  in  which  the 
lower  external  angles  of  the  circle  were  filled  up,  and  also,  in  a  far 
more  pleasing  manner  than  usual,  the  mode  in  which  the  pierced  tri- 


Chaf.  X. 


BAYS. 


701 


foriiim  is  made  to  form  part  of  the  decoration.  Owing  to  the  strong 
transom  bar  hero  employed,  there  is  strength  enough  to  support  tlio 
siiperstnic'ture ;  but  as  too  often  is  the  case,  when  this  is  subdued  and 
kept  under,  there  is  a  confusion  between  the  circular  and  upright 
parts,  wliich  is  not  pleasing.  Tt  is  then  neither  a  circular  nor  an 
upright  window,  l)ut  an  indeterminate  compound  of  two  pleasing  mem- 
bers, in  wliich  both 
suffer  materially. 

I  believe  it  is  safe 
to  assert,  that  out  of 
at  least  a  hundred 
first  class  examples 
of  these  circular  win- 
dows, which  still  ex- 
ist in  France,  no  two 
are  alike.  On  the 
contraiy,  they  present 
the  most  striking  dis- 
similarity of  design. 
There  is  no  feature 
on  which  the  French 
architects  bestowed 
more  pains,  or  in 
which  they  were  more 
successful.  They  are, 
indeed,  the  chefs-d'oeuv- 
re of  their  decorative 
abilities,  and  the  most 
pleasing  individual 
features  of  their  great- 
er churches.     At  the 


Biwf^^n'i'it^fflK^f'fTTT!!^ 


574.    West  Window,  St.  Oueii.    From  Pugin. 


same  time,  they  completely  refute  the  idea  that  the  pointed  form  is  at 
all  necessary  for  the  production  of  beauty  in  decorative  apertures. 


Bays. 

It  may  be  useful  here  to  recapitulate  what  has  been  said  of  the  sid)- 
division  of  churches  into  bays,  or,  as  the  French  call  them,  trave'es. 
The  two  typical  arrangements  of  these  are  shown  in  woodcuts  Nos. 
523  and  525,  as  existing  before  the  introduction  of  the  pointed  forms. 
In  the  first  a  great  gallery  runs  over  the  whole  of  the  side  aisle, 
introduced  partly  as  a  constructive  expedient  to  serve  the  purpose  for 
which  flying  buttresses  were  afterwards  employed,  partly  as  enabling 
the  architect  to  obtain  the  required  elevation  without  extraordinarily 
tall  pillars  or  wide  pier-spaces,  both  which  were  beyond  the  con- 
stnictive  powers  of  the  earlier  builders.  These  galleries  were  also 
useful  as  adding  to  the  accommodation  of  the  church,  as  persons  wei'e 
able  thenco  to  see  the  ceremonies  performed  below,  and  to  hear  the 


702  FRENCH  ARCHITECTURE.  Uook  III. 

mass  nnd  music  as  well  as  from  tho  floor  of  the  church.  These  ad- 
vantages wore  couutcrljalanccd  by  the  greater  dignity  and  architectural 
beauty  of  the  second  an-angement  (woodcut  No.  525),  where  the  whole 
height  was  divided  into  that  of  tlie  side  aisles  and  of  a  clerestory, 
separated  from  one  another  by  a  triforium  gallery,  which  represented 
in  fact  the  depth  of  the  wooden  roof  requisite  to  cover  the  side  aisles. 
When  once  this  simple  and  beautiful  arrangement  was  adopted,  it  con- 
tinued with  very  little  variation  thi'oughout  the  middle  ages.'  Tlie 
propoi-tions  generally  used  were  to  make  the  aisles  half  the  height  of 
the  nave.  In  other  words,  the  string-course  below  the  triforium  di- 
vided the  height  into  two  equal  parts ;  the  space  above  that  was 
divided  into  three,  of  which  two  were  allotted  to  the  clerestoiy,  and 
one  to  the  triforium.  It  is  true  there  is  perhaps  no  single  instance  in 
which  the  proportions  here  given  are  exactly  preserved,  but  they  suffi- 
ciently represent  the  general  division  of  the  parts,  from  which  tho 
architects  only  de%^ated  slightly,  sometimes  on  one  side,  sometimes  on 
the  other,  according  to  their  taste  or  caprice.  The  only  really  im- 
portant change  afterwards  introduced  was  that  of  glazing  the  tiiforium 
gallery  also,  by  adopting  a  flat  roof,  or  one  nearly  so,  over  the  side 
aisles,  as  at  tho  church  of  St.  Ouen  at  Eouen  (woodcut  No.  568),  where 
the  roof  is  so  flat  that  the  edge  of  it  is  hardly  seen  by  a  spectator 
standing  on  the  floor  of  the  church.  The  whole  walls  of  the  church, 
with  the  slight  exception  of  the  spandrils  of  the  great  pier-arches,  have 
thus  become  walls  of  glass,  the  mass  of  the  vault  being  supported  only 
by  the  deep  and  bold  constnictive  lines  of  which  tho  framework  of 
the  glass  siu-faco  consists. 

In  England  we  have  not,  as  far  as  I  am  aware,  any  instance  of  a 
glazed  triforium,  but  it  is  nevertheless  probably  one  of  the  most  beau- 
tiful features  in  the  later  styles  of  the  French  architects,  and  where  it 
retains  its  coloured  glass,  which  is  indispensable,  produces  one  of  the 
most  faii-y-liko  effects  over  attained  in  any  architectuial  work. 

Vaults. 

It  has  already  appeared  how  essential  a  part  of  a  Gothic  church  the 
vault  was,  and  how  completely  it  was  the  governing  power  that  gave 
form  to  the  art.  We  have  also  seen  the  various  steps  by  which  the 
architects  arrived  at  the  intersecting  vault,  which  became  the  typical 
form  in  the  best  age.  In  Franco  especially  the  stone  vault  was  retained 
throughout  as  a  really  essential  feature,  for  in  that  country  the  art  of 
constructing  ornamental  wooden  roofs  never  prevailed. 

In  the  best  age  the  an-angement  of  the  French  vaults  was  ex- 
tremely simple.  The  aisles  were  generally  built  in  square  compart- 
ments, the  vaults  of  which  were  first  circumscribed  each  by  4  equal 


'  The  eailier  form  is  fouud  retained  at  century;  but  in  the  iirst  years  of  the  13th 
Noyon,  at  Paris,  as  shown  in  woodcut  No.  it  gave  place  to  the  second,  and  was  never 
536,  and  in  most  of  the  churches  of  the  12th      afterwards  revived. 


Chap.  X. 


VAULTS. 


703 


Diagram  of  Vaulting.- 


arclios  (woorlcul  No.  575),  of  which  A  a  were  transverse  ribs,  or  arcs 
doahlcaux  as  the  French  called  them,  and  were  used,  as  we  have  seen, 
in  the  old  tunnel-vaults.  These  arches,  as  springing  from  the  main 
jioints  of  support,  were  the 
princi})al  strengtheners  of  the 
vault.  B  was  called  the  form- 
crc'i,  and  was  a  rib  built  into 
the  wall,  of  the  same  form  as 
the  transverse  ribs,  and  so 
called  because,  being  the  first 
constructed,  it  gave  the  form  to 
the  vault.  Lastly  there  wcie 
two  more  ribs  springing  from 
angle  to  angle,  and  intersect- 
ing one  another  at  c.  These 
wore  called  ogives,  from  the  Latin  word  augere,  to  strengthen,'  which 
was  the  object  of  their  employment — and  every  builder  knows  how 
essential  to  strength  this  is.  In  modem  vaults — in  cellars  or  dock- 
vaults  for  instance,  if  built  of  brick^ — it  is  usual  to  insert  a  course  of 
stone  on  the  edge  of  the  intersection,  for  bricks  used  there  would  bo 
liable  to  be  crushed  or  fall  out.  But  this  is  now  done  flush  with  the 
brickwork.  The  medieval  architects  allowed  this  course  to  project, 
not  only  because  such  a  foim  was  stronger  in  itself,  but  because  it 
gave  the  appearance  as  well  as  the  reality  of  strength. 

The  roof  of  the  nave  was  composed  of  precisely  the  same  pai-ts, 
only  that,  being  twice  as  wide  as  each  compartment  was  broad,  the 
length  of  the  transverse  ribs  and  of  the  intersecting  ogives  was  gi'eater 
in  proportion  to  the  formerets  than  in  the  aisles.  Another  addition, 
and  certainly  an  improvement,  was  the  introduction  of  ridge-ribs  (d  d), 
marking  the  point  of  the  vault.  These  could  not  of  course  be  used  with 
circular  arches,  where  there  was  no  central  line  for  them  to  mark  ;  and 
it  probably  was  from  this  cause  that  the  French  seldom  adopted  them, 
having  been  accustomed  to  vaults  not  reqiaring  them.  Another  reason 
was  that  all  their  earlier  vaults  were  more  or  less  domical,  or  in  other 
words  tho  point  c  was  higher  than  the  points  A  or  B,  though  this  is 
more  apparent  in  hexapartite  vaults,  or  where  one  compartment  of 
tho  nave-vaults  takes  in  two  of  tho  aisles,  than  in  quadripartite,  like 
those  now  under  consideration.  Still  all  French  vaults  have  this  pe- 
culiarity more  or  less,  and  consequently  the  longitudinal  ridge-rib, 
where  used,  has  an  up  and  down  broken  appearance,  which  is  ex- 
tremely disagreeable,  and  in  a  great  measure  must  have  prevented  its 
adoption.  There  is,  however,  at  least  one  exception  to  this  rule  in 
Franco  in  the  abbey  church  of  SouvigTiy,  represented  in  the  woodcut 


'  Tin;  l"'rencli  autiriuaries  ein})loy  this 
word  as  if  it  sigiiilieJ  a  [lointerl  arch,  whence 
tliey  designate  the  style  itself  as  o<iivaL 
There  is  no  doubt,  however,  that  tho  word 


has  nothing  to  do  with  the  form  of  the  arch 
or  the  ogee,  but  is  the  name  of  a  rib  com- 
mon to  the  lound-arched  as  well  as  to  the 
pointed  style. 


704 


FRENCH  AKCHITECTURE. 


EOOK  III. 


No.   570,  where  this  rib  is  used  Avith   bo  pleasing  an  cflfcct  that  one 

is   sur}iii.sed   it  was   not  more 
frequently  adopted. 

These  are  the  only  features 
usually    employed    by   French 
architects  :   still  we  sometimes 
find   tiereerons,    or   secondary 
ogives,   used  to   strengthen  as 
well  as  to  ornament  the  plain 
faces  of  the  vaults,  one  or  two 
on  each  face,  as  at  E  K  (in  wood- 
cut No.  575)  ;  and  lastly  small 
ribs  or  Hemes,  v  f,  from  Her,  to 
bind,  were  sometimes  used  to 
connect  all  these,  forming  star 
patterns  at  the  centre,  and  other 
cumplicated  but  beautiful  orna- 
ments of  the  vault.    These  last, 
however,  are  rare  and  excep- 
tional    in     French     vaulting, 
though  treated  by  the  English 
architects    with    such    success 
that  we  wonder  that  they  were 
not  more  generally  adopted  in 
France.    The  most  probable  ex- 
planation   appears   to    be   that 
the  French  architects  depended 
more  on  colour  than  on  relief 
for   the    efiect  of  their  vaults, 
while    in   England  coloiir  was 
sparingly  used,  its  place  being 
supplied  by  constructive  carv- 
Whatever   may  have  been  the  comparative  merits  of  the  two 
methods  when  first  used,  the  English  vaults  have  a  great  advantage 
now,  inasmuch  as   the   carving  remains,  while  the  paintings  of  the 
others  have  perished,  and  we  have  no  means  of  judging  of  their  ori- 
ginal effect. 

One  of  the  most  beautiful  features  of  French  vaulting,  almost 
entirely  unknown  in  this  country,  is  the  great  polygonal  vault  of  the 
semi-dome  of  the  chevet.  As  an  architectural  object  few  will  be 
disinclined  to  admit  that  it  is,  with  its  walls  of  painted  glass  and  its 
light  constructive  roof,  a  far  more  beautiful  thing  than  the  plain  semi- 
dome  of  the  basilican  apse,  even  with  its  mosaics.  Still,  as  the  French 
used  it,  they  never  quite  surmounted  the  difficulties  of  its  construc- 
tion ;  and  in  their  excessive  desire  to  do  away  with  all  solid  wall, 
and  to  get  the  greatest  possible  surface  for  painted  glass,  they  distorted 
these  vaults  often  in  a  very  unpleasing  manner. 

The  chevet  of  Pontigny  (woodcut  No.  558)  presents  a  good  example 


576. 


Abbey  Church,  Souvigny. 
Bourboiinais. 


i'loiu  lAncien 


mg 


CiiAi'.  X.  BUTTRESSES.  705 

of  the  early  form  of  the  vault,  and,  owing  to  the  small  size  of  tlio  win- 
dows and  general  soln'iety  of  the  composition,  avokls  the  defects 
alluded  to.  Uf  the  later  examples  there  are  few,  except  that  of 
Sonvigny,  represented  in  woodcut  No.  576,  where  the  difficulty  has 
been  entirely  conquered  by  constructing  the  spandrils  with  pierced 
tracery,  so  that  the  vault  virtually  springs  from  nearly  the  same  height 
as  the  arch  of  the  windows,  and  a  very  slight  improvement  would 
have  made  this  not  only  constructively,  but  artistically  perfect.  This 
is  a  solitary  specimen,  and  one  which,  though  among  the  most  beau- 
tiful suggestions  of  Gothic  art,  has  found  no  admirers,  or  at  least  no 
imitators. 

Notwithstanding  this  difficulty  of  construction,  these  pierced  semi- 
domes  are  not  only  the  best  specimens  of  French  vaulting,  but 
among  the  most  beautiful  inventions  of  the  middle  ages,  and  foim 
a  finer  termination  to  the  cathedral  vista  than  cither  the  great 
windows  of  the  English,  or  the  wonderful  rose-windows  of  the  French 
cathedrals. 

Buttresses. 

The  employment  of  buttresses  was  a  constructive  expedient  that 
followed  almost  indispensably  on  the  use  of  vaults  for  the  roofing  of 
churches.  It  was  necessary  either  to  employ  enormously  thick  walls  to 
resist  the  thrust,  or  to  support  them  by  some  more  scientific  arrange- 
ment of  the  materials.  The  theory  of  the  buttress  will  be  easily  under- 
stood from  the  diagram  (woodcut  No.  577),  representing  7  blocks  or 
masses  of  masonry,  disposed  first  so  as  to  form 
a  continuovis  wall,  but  which  evidently  affords  a      \ 

very  little  resistance  to  a  thrust  or  push,  tend-  '^.--^^ i^*^ 

ing  to  overturn  it  from  within.     The  left-hand      q^     '■-,       j  \V 

arrangement  is,  from  the  additional  breadth  of  ~-.,  I  \\ 

base  in  the  direction  of  the  thrust,  much  less     '-— ;  ^; 

liable  to  fall  outwards,  provided  the  distance  of    ^^^^^i  i 

the  blocks  from  one  another  is  not  too  great,     ci=d.  | 

and  the  mass  of  the  vault  does  not  press  heavily  '  | 

on  the  intermediate  space.     This  last  difficulty  i 

was  so  much  felt  by  the  earlier  French  architects 

that,  as  we  have  seen,  in  the  south  of  France     577.   Diagram  of  Buttresses. 
especially,  they  used  the  roof  of  the  side  aisle 

as  a  continuous  buttress  to  resist  the  thrust  of  their  tunnel-vaults. 
It  was  surmounted  also  by  the  introduction  of  intersecting  vaults, 
inasmuch  as  by  this  expedient  all  the  thrusts  were  collected  together 
at  a  point  over  each  pier,  and  a  resisting  mass  applied  on  that  one 
point  was  sufficient  to  give  all  the  stability  required.  This  and  the 
desire  of  raising  the  lights  as  high  as  possible  into  the  roof  were,  the 
principal  causes  that  brought  this  form  of  vaulting  into  general  use  ; 
but  it  has  not  yet  been  shown  that  the  continuous  vault  is  not  never- 
theless the  more  beautiful  of  the  two  forms,  artistically  at  least,  if  not 
constnictively. 

There  was  still  one  difficulty  to  be  mastered,  which  was  that  the 

2  z 


700 


FRENCH  ARCHITECTURE. 


Book  IIT. 


Itrincipal  vault  to  bo  abutted  was  that  over  tbc  nave  or  central  part 
of  tlie  church,  ioid  buttresses  of  the  rc<iuisite  depth  would  have  filled 
up  the  side  aisles  entirely.  The  difficulty  occurred  as  early  as  in  the 
building  of  the  basilica  of  Maxentius  (woodcut  No.  259),  and  was 
there  got  over  practically  in  something  like  the  same  manner  as  in  the 
middle  ages,  except  that  the  arch  was  there  carried  inside,  whereas 
tlie  CJothic  architects  threw  the  abutting  arch  across  on  the  outside 
and  above  the  roof. 

Several  of  the  previous  woodcuts  '  show  the  system  of  flying  but- 
tresses in  various  stages  of  advancement. 
The  view  of  one  of  those  of  the  choir  of 
St.  Ouen  (No.  578)  exhibits  the  system  in 
its  greatest  degree  of  development.  Here 
there  are  two  vertical  and  two  flying  but- 
tresses, forming  a  system  of  great  light- 
ness, but  at  the  same  time  of  immense  con- 
structive strength,  and  when  used  sparingly 
and  with  elegance,  as  in  this  instance,  con- 
stituting an  object  of  great  beauty.  The 
abuse  of  this  expedient,  as  in  the  cathedral 
at  Cologne  and  elsewhere,  went  very  far  to 
mar  the  proper  eflect. 

The   cathedral   at  Chartres   presents  a 
singular  but  very  beautiful  instance  of  an 
earlier  form  of  flying  buttress;   there  the 
immense  span  of  the  central  vault  put  the 
architects  on  their  mettle  to  provide  a  suffi- 
_^      cient  abutment,  and  they  did  it  by  building 
^^  what  was  literally  an  open  wall  across  the 
aisle  (see  woodcut  No.  543),  strongly  arched, 
and  the  arches  connected  by  short  strong 
pillars  radiating  with  the  voussoirs  of  the 
arch.     Nothing  coidd  well  be  stronger  and 
more  scientific  than  this,  but  the  absence 
of  perpendicularity  in  the  pillars  was  un- 
pleasing  to  the  eye  then  as  now,  and  the 
contrivance  was  never  repeated. 
A  far  more  pleasing  form  was  that  adopted  afterwards  at  Amiens 
(woodcut  No.  579)  and  elsewhere,  where  a  series  of  small  traceried 
arches  stand  on  the  lower  flying  buttress,  and  support  the  upper,  which 
is  straight-lined.   Even  here,  however,  the  difficulty  is  not  quite  got  over ; 
the  unequal  height  of  these  connecting  arches,  and  the  awkward  angle 
which  the  lower  supports  make  with  the  curvilinear  form  on  which  they 
rest,  deprive  them  of  that  constmctive  propriety  which  alone  secures 
a  perfectly  satisfactory  result  in  architecture.     The  problem  indeed  is 
one  which  the  French  never  thoroughly  solved,  though  they  bestowed 
immense   pains   upon  it.     Brilliant  as  the  effect  sometimes  is  of  the 


578.      Flying  Buttress  of  St.  Ouen. 
From  Baiissier,  Histoire  de  I'Art. 


'  See  woodcuts  Nos.  5,36.  543,  556,  &c. 


Chap.  X. 


PINNACLES. 


"07 


iiiniienso  mass  of  pinnacles  and  flyino;  Lnttresscs,  tlioy  are  seldom  so 
put  together  as  to  leave  an  entirely  satisfactory  result  on  the  mind 
of  the  spectator.  'J'akcn  all  in 
all  perhaps  the  most  pleasing- 
example  is  that  of  Eheims  (wood- 
cut No.  544),  those  on  each  side 
of  the  nave  especially,  where  two 
ludd  simple  arches  transmit  the 
pressure  fi'om  an  exquisitely  bold 
pinnacled  buttress  to  the  sides 
of  the  clerestory,  and  in  such  a 
manner  as  to  leave  no  doubt 
whatever  either  as  to  their  pur- 
pose or  their  sufficiency  to  ac- 
complish their  object. 

Notwithstanding  the  beauty 
which  the  French  attained  in 
their  flying  buttresses,  it  is  still 
a  question  whether  they  did  not 
carry  this  feature  too  far.  It 
must  bo  confessed  that  thei'e  is 
a  tendency  in  the  abuse  of  the 
system  to  confuse  the  outlines 
and  to  injure  the  true  archi- 
tectural effect  of  the  exterior.  Internally  it  no  doubt  enabled  them 
to  lighten  their  piers  and  increase  the  size  of  their  windows  to  an 
unlimited  extent,  and  to  judge  fairly  we  must  balance  between  the 
gain  to  the  interior,  and  the  external  disadvantages.  This  we  shall 
be  better  able  to  do  when  considering  the  next  constructive  expedient, 
which  was  that  of  the  introduction  of  pinnacles. 


579.    Flying  Buttress  at  Amiens.     From  Chapuy. 


Pinnacles. 

The  use  of  pinnacles,  considered  independently  of  their  ornamental 
purposes,  is  evident  enough.  It  is  obvious  that  a  wall  or  pillar  which 
has  to  resist  the  thrust  of  a  vault  or  any  other  power  exerted  laterally, 
depends  for  its  stability  solel}^  on  its  thickness,  solidity,  and  generally 
on  its  lateral  strength.  A  material  consideration,  as  affecting  this 
solidity,  is  that  of  weight.  The  most  frequent  use  of  pinnacles  by  the 
French  was  to  surmount  the  piers  from  which  the  flying  buttresses 
sprang.  To  these  piers  weight  and  solidity  were  thus  imparted,  ren- 
dering them  a  sufficiently  steady  abutment  to  the  flying  arches,  which 
in  their  turn  abutted  the  central  vaults. 

It  must  be  understood  that  these  expedients  of  buttresses  and 
pinnacles  were  only  employed  to  support  the  central  roof  of  the  nave. 
Those  of  the  aisles  were  so  narrow  as  not  to  require  any  elaborate 
system  of  abutments  for  their  support,  the  ordinary  thickness  of  the 
walls  sufficing  for  that  purpose. 

As  a  general  rule  the  English  architects  never  hesitated  to  weight 

2  z  2 


708  FEEKCH  ARCHITECTUKE.  Book  III. 

their  walls  ko  as  to  apply  tlie  resistance  directly  on  tlic  point  reqnired, 
and  not  only  adorned  the  roofs  of  their  churches  with  pinnacles,  but 
raised  towers  and  lanteras  on  the  intersections  on  all  occasions.  The 
French,  on  the  other  hand,  always  prefen-ed  placing  these  objects,  not 
on  their  churches,  but  rather  grouped  around  them,  and  springing 
from  the  ground.  This,  it  is  true,  enabled  them  to  indulge  in  height 
and  lightness  internally  to  an  extent  ^^nkuo^\^l  in  England.  This 
extravagance  proved  prejudicial  to  the  true  effect  even  of  the  interior, 
while  externally  the  system  was  very  destnictive  of  grace  and  hannony. 
As  high  as  the  parapet  of  the  side  aisles  a  French  cathedral  is  gene- 
rally solid  and  simple,  but  above  this  base  the  forest  of  pinnacles  and 
buttresses  that  spring  from  it  entirely  obscure  the  clerestoiy,  and 
confuse  its  lines.  Above  this  the  great  mass  and  simple  fonn  of  the 
high  steep  roof,  unbroken  by  pinnacles  or  other  ornaments,  conti'asts 
ill  with  the  lightness  and  confused  lines  immediately  below  it.  This 
inconsistency  tends  to  mar  the  beauty  of  French  cathedrals,  and  even 
of  their  churches,  though  there  the  effect  is  less  glaring  owing  to  the 
smallness  of  the  parts. 

Spires. 

An  easy  transition  leads  us  from  pinnacles  to  spires,  the  latter 
being  but  the  perfect  development  of  the  fonner,  and  each  requiring 
the  assistance  of  the  other  in  producing  a  thoroughly  harmonious 
effect.  Still  their  uses  were  widely  different,  for  the  spire  never  was 
a  constmctive  expedient,  or  usefid  in  any  way.  Indeed,  of  all  archi- 
tectural features,  it  is  the  one  perhaps  to  which  it  is  least  easy  to 
apply  any  utilitarian  rule. 

We  have  seen  that  towers  were  originally  introduced  in  Christian 
edifices  partly  as  bell-towers,  partly  as  symbols  of  power,  sometimes 
perhaps  as  fortifications,  besides  the  general  purpose  of  ornamenting 
the  edifices  to  which  they  were  attached,  and  giviag  them  that  dignity 
which  elevation  always  conveys. 

From  the  tower  the  spire  arose  first  as  a  wooden  roof,  and  as 
height  was  one  of  the  great  objects  to  be  attained  by  building  the 
tower,  it  was  natural  to  eke  this  out  by  giving  the  roof  an  exaggerated 
elevation  beyond  what  was  required  as  a  mere  protection  from  the 
weather.  AYhen  once  the  idea  was  conceived  of  rendering  it  an  orna- 
mental feature,  the  architects  were  not  long  in  canying  it  out.  The 
first  and  most  obvious  step  was  that  of  cuttiug  off  the  angles,  making 
it  an  octagon,  and  canying  up  the  angles  of  the  tower  by  pinnacles, 
to  soften  the  transition  between  the  pei'pendicular  and  sloping  part, 
and  reduce  it  again  to  hannony. 

One  of  the  earliest  examples  in  which  this  transition  is  successfully 
accomplished  is  in  the  old  spire  at  Chartres  (woodcut  No.  542),  where 
the  change  from  the  square  to  the  octagon,  and  from  the  tower  to  the 
pyramid,  ai"e  managed  with  great  felicity.  The  western  spires  of  St. 
Stephen's  abbey  at  Caen  (woodcut  No.  522),  though  added  in  the  age 
of  pointed  Gothic  to  towers  of  an  earlier  age,  are  also  pleasing  speci- 


Chap.  X. 


SPIRES. 


709 


mens.     But  pcTliajis  one  of  the  very  best  in  France,  for  its  size  and 
age,  is  that  of  St.  Pierre  at  Caen  (woodcut  No.  580),  uniting  in  itself 


580. 


St.  Pierre,  Caen.    From  Chapuy. 


all  the  properties  of  a  good  design  witlujut  either  poverty  or  extrava- 
gance. The  little  lantern  of  St.  Marie  de  I'Epine  (woodcut  No.  559)  is 
for  its  size  as  graceful  an  object  as  can  well  be  designed;  and  the  new 
.s])ire  at  (Jhai+res  (woodcut  No.  542),  as  before  remarked,  is,  excepting 
the  defects  inherent  in  its  age,  one  of  the  most  beautiful  in  Europe. 

This  feature  is  nevertheless,  it  must  be  confessed,  rarer  in  France 
than  might  be  expected.  This  is  peihaps  owing  to  many  spires  having 
been  of  wood,  and  to  their  having  been  allowed  to  decay  and  been 


710 


FRENCH  ARCHITECTURE. 


Book  II [. 


removed ;  and  in  other  instances  it  is  certain  that  the  design  of  erect- 
ing thorn  has  been  abandoned  in  consequence  of  the  tower,  when 
finished,  liaving  been  foiuul  insufficient  to  bear  their  weight. 

The  ruined  churcli 
of  St.  John  at  Soissons 
has  two,  which  are  still 
of  great  beauty.  At 
Bayeux  are  two  others, 
not  very  beautiful  in 
themselves,  but  which 
group  pleasingly  with 
a  central  lantern  of  the 
Kenaissance  age.  And 
at  Coutances  there  are 
two  others  of  the  best 
age  (woodcut  No.  549), 
which  combined  with  a 
central  octagonal  lan- 
tern make  one  of  the 
most  beautiful  groups 
of  towers  in  France. 
Plere  the  pitch  of  the 
roof  is  very  low,  and 
altogether  the  external 
design  of  the  building  is 
much  more  in  accord- 
ance with  the  canons 
of  art  prevalent  on  this 
side  of  the  Channel 
than  with  those  which 
found  favour  in  France. 
Of  the  earlier  French 
lanterns,  this  at  Cou- 
tances is  perhaps  the 
best  specimen  to  be 
found :  of  the  later 
class  there  is  none 
finer  than  that  of  St. 
Ouen ;  and  had  the 
western  towers  been 
completed  in  the  same 
character,  in  accordance  with  the  original  design,  the  towers  of  this 
church  would  probably  be  unrivalled.  Even  alone  the  lantern  is 
a  very  noble  architectural  feature,  and  appropriate  to  its  position, 
though  some  of  the  details  mark  the  lateness  of  the  age  in  which  it 
was  erected. 

Notwithstanding  the  beauty  of  these  examples,  it  must  be  confessed 
that  the  French  architects  were  not  so  happy  in  their  designs  of  spires 
and  lanterns  as  they  were  in  many  other  features. 


oSl.       LaiiUTii,  SI  OiK'ii,  Ilouen.     From  a  I'rint  liy  Cluipiiy. 


Chap.  X. 


CONSTRUCTION. 


711 


582. 


Corbel.    From  Diilron,  Aiinales 
Archeulogiques. 


It  AVoiikl  be  in  vain  to  attempt  to  enumerate  all  the  smaller  deco- 
ratiA'e  featiircs  tliat  crowd  every  part  of 
the  Gothic  churches  of  France,  many  of 
which  indeed  belong  more  to  the  depart- 
ment of  the  sculptor  than  to  that  of  the 
architect,  though  the  two  are  so  inti- 
mately interwoven  that  it  is  impossible 
to  draw  the  line  between  them.  The 
corbel  for  instance  represented  in  wood- 
cut No.  582  is  as  much  a  niche  for  the 
statue  as  a  bracket  to  support  the  ends  of 
the  ribs  of  the  vaults,  and  is  one  of  the 
thousand  instances  which  are  met  with 
everywhere  in  Gothic  art  of  that  haii])y 
mixture  of  the  arts  of  the  mason,  the 
carver,  and  the  sculptor,  which  when 
successfully  combined  produce  a  tme 
artistic  eifect.  These  combinations  are 
so  numerous  and  so  varied  that  it  would 
be  hopeless  to  attempt  to  classify  them, 
or  even  to  attempt  to  illustrate  the  vari- 
eties found  in  any  single  cathedral. 

The  same  may  be  said  of  the  capitals  of  the  pillars,  which  in  all 
the  best  buildings  vary 
with  every  shaft,  and 
seem  to  have  been  exe- 
cuted after  the  archi- 
tect had  finished  his 
labours,  by  artists  of  a 
very  high  class.  In 
the  best  age  they  seem, 
in  France  at  least,  as 
in  the  examples  from 
Eheims,  shown  in  wood- 
cut No.  583,  to  have 
retained  a  reminiscence 
of  the  Koman  Corinthian  order,  but  to  have  used  it  with  a  freedom 
entirely  their  own. 

CoxsTRUcriox. 

It  has  been  shown  that  the  exigencies  of  a  Gothic  cathedral  were 
a  stone  roof,  a  glass  wall,  and  as  great  an  amount  of  space  on  the 
floor,  as  little  encumbered  with  pillars  and  points  of  support,  as  could 
be  obtained.  The  two  first  of  these  points  have  been  sufficiently  in- 
sisted upon  in  the  preceding  pages  ;  the  last  demands  a  few  more 
I'emarks,  as  the  success  of  the  masons  in  the  middle  ages  in  this  respect 
was  one  of  their  chief  merits.  This  was  but  a  mechanical  merit 
after  all,  and  one  in  which  they  hardly  surpassed  their  masters  the 
Romans.     The  basilica  of  Maxentius,  for  instance,  covers  a  space  of 


5^3. 


Capitals  from  llheims. 


The  whole  area. 

Solid. 

Bo  urges 

.     61,591      .    . 

11,908 

Chartres 

.     68,261      .    . 

8888 

Paris      . 

.     64,108      .    . 

7852 

St.  (J  lien 

.     47,107      .    . 

46.37 

712  KHKNCII  ARCHITECTURE.  Book  HI. 

-()8,0()0  square  feet,  or  alxiut  tlio  average  size  of  a  Fi-encli  cat.liedral, 
and  tlie  jxiints  of  supj)ort,  or  in  otlier  woixls  the  piers  and  walls, 
occupy  only  69(^0  ft.,  or  between  a  9tli  and  a  lOtli  part  of  the  whole 
area.  If  we  turn  to  the  great  cathedral  of  St.  Peter's  at  Eome,  we  find 
the  points  of  siqtport  occupying  more  thnn  one-fourth  of  the  whole 
area,  though  built  on  the  model,  and  almost  a  copy,  of  the  Konian 
basilica.  At  ^t.  Mary's  at  Florence  they  occupy  one-fifth ;  and  in  St. 
Paul's,  London,  and  the  Pantheon  at  Paris,  the  walls  and  pillars  occupy, 
in  the  first  rather  more,  in  the  other  rather  less,  than  one-sixth.  If  from 
these  we  turn  to  some  of  the  mediieval  examples,  we  find  for  instance  at 

Ratio. 

0'181,  or  between  l-5th  and  l-6tli. 
.      0-130  ,,  l-8tli. 

.     0-122  ,,  1-Sth  and  l-9th. 

.     0-090  „  l-lOth  and  1-llth. 

The  figures,  however,  at  P.ourges  include  a  heavy  and  extended 
porch  not  belonging  to  the  original  design,  which  if  omitted  Avould 
reduce  the  fractional  proportion  considerably  ;  and  if  the  unbuilt  towers 
of  St.  Ouen  were  excluded,  the  proportion  of  the  points  of  support  to 
the  area  would  be  less  than  one-twelfth. 

Our  best  English  examples  show  a  proportion  of  rather  less  than 
one-tenth,  and  though  they  have  not  the  great  height  and  wide-spreading 
vaults  of  the  French  cathedrals,  their  spires  and  pinnacles  externally 
perhaps  more  than  counterbalance  this.  Taken  altogether  it  may  gene- 
rally be  stated  that  one-tenth  is  about  the  proportion  in  the  best  churches 
of  the  best  age.  When  it  is  carried  beyond  this,  the  lightness  oi  the 
walls  and  pillars  has  been  carried  to  excess,  and  even  in  St.  Ouen,  if 
there  is  an  error,  it  is  on  this  side.  The  chui'ch  wants  solidity,  and 
apparent  as  well  as  real  strength  ;  for,  without  affecting  the  extreme 
massivencss  of  Egyptian  art,  with  its  wonderful  expression  of  poAvor 
and  durability,  there  is  an  opposite  extreme  far  more  prejudicial  to 
true  architectural  effect,  in  parading,  as  it  were,  mechanical  con- 
trivances of  construction,  so  as  to  gain  the  utmost  utilitarian  effect 
Avith  the  least  possible  expenditure  of  means.  This  the  Egyptians 
utterly  despised  and  rejected,  and  heaped  mass  on  mass,  even  at  the 
expense  of  any  convenience  or  use  the  building  might  be  designed  to 
possess.  The  French  architects,  on  the  other  hand,  made  it  their  study 
to  dispense  Avith  CA^ery  ton  of  stone  they  possibl}-  could  lay  aside.  This 
system  they  undoubtedly  carried  too  far,  for,  Avithout  looking  at  such 
extreme  examples  as  St.  Ouen,  everyAAdiere  in  France  avc  find  a  degree 
of  aii-y  lightness  and  tenuity  of  parts  destructiA'e  of  many  of  the  most 
important  conditions  of  architectural  excellence. 

Furniture  of  Churches. 

Xo  less  thought  and  expense  Avere  probably  bestoAved  u^)on  Avhat 
Ave  may  call  the  furnishing  of  Gothi(>  churches  than  upon  the  fabrics 
themselves.  Though  the  objects  included  in  this  denomination  Avere 
altogether  of  a  loAver  class  of  art,   they  AA'cre  still  essential  jiarts  of  the 


Chap.  X. 


FURNITURE  OF  CHURCHES. 


713 


wliolo  design,  anil  we  cannot  fairly  judge  of  the  buildings  themselves 
without  at  least  endeavouring  to  supply  their  minor  arrangements. 

This  is  not  easy  in  France,  nor  indeed  in  any  part  of  Europe,  as 
no  one  chureli  or  chapel  displays  at  the  present  day  all  the  wealth  and 
ornament  once  belonging  to  it. 

There  is  scarcely  a  single  church  in  France  with  its  original  altar, 
the  most  sacred  and  therefore  generally  the  most  richly  adorned  part 
of  the  whole.  These  have  either  been  plundered  by  the  Hugiienots, 
rebuilt  in  the  execrable  taste  of  the  age  of  Louis  XIV.,  or  destroyed 
during  the  Eevolution. 

The  cathedrals  of  Amiens  and  Eouen  are  among  the  few  which 
retain  their  original  stalls ;  and  the  inclosure  of  the  choir  at  Chartres 
is  one  of  the  most  elaborate  pieces  of  ornamental  sculpture  to  be  found. 
That  at  Alby  has  been  before  alluded  to,  and  fragments  of  this  feature 
still  exist  in  many  cathedrals. 

The  Eood-screens,  or  Juhes,  which  almost  all  French  churches  once 
possessed,  are  rarer  than  even  the  other  parts  of  these  inclosures.     A 


oSi. 


i 

llood-Scre'jn  from  the  Madclainc  at  Troycs.     l'>om  Arnaud,  Voyasc  duns  I'Aubc. 


714 


FRENCH  ARCHITE(;TUKE. 


Book  III. 


good  example  of  them  is  found  in  the  church  of  the  Madchiine  at  Troyes 
(woodcut  No.  584),  which  gives  a  favourable  idea  of  the  richness  of  deco- 
ration that  was  sometimes  lavished  on  these  parts.  Though  late  in  age, 
and  aiming  at  the  false  mode  of  construction  which  was  pievalent  at  the 
time  of  its  execution,  it  displays  so  mucli  elegance  as  to  disarm  criti- 
cism. It  makes  us  too  regret  the  loss  of  the  rood-screens  of  St.  Ouen's 
(of  which  we  can  judge  from  drawings),  and  of  the  greater  cathedrals, 
of  which  we  can  form  some  idea  hy  following  out  the  design  of  the 
lateral  screens,  of  which  they  formed  a  part. 

If  to  these  we  add  the  altars  of  the  minor  chapels,  with  the  screens 
that  divided  them  from  the  nave,  the  tombs  of  wealthy  prelates 
and  nobles,  the  organ  galleries,  with  their  spiral  stairs  and  richly 
carved  instrument  cases,  and  all  the  numbei-less  treasures  of  art  accu- 
mulated by  wealth  and  piety,  we  may  form  some  idea  of  what  a 
Mediaeval  cathedral  really  was,  but  which  scarcely  now  exists  in  any 
part  of  Europe. 

Domestic  Architecture. 

It  is  probable  that  specimens  remain  sufficient  to  elucidate  in  an 
archaeological  point  of  view  the  progress  of  domestic  architecture  in 
Fi'ance,  and  thereby  to  illustrate  the  eaily  manners  and  customs  of  the 
people ;  but  these  remains  are  much  less  magnificent  and  less  per- 
fectly preserved  than  the  churches  and  cathedrals,  and  have  conse- 
(juently  received  comparatively  little  attention. 

Had  any  of  the  rojal  palaces  been  preserved  to  our  day,  or  even 
any  of  the  greater  municipal  buildings,  the  case  might  have  been 
different.     The  former  have  however  perished,  without  an  exception  ; 

and  as  regards  the  latter,  France 
seems  always  to  have  presented  a 
remarkable  contrastwith  the  neigh- 
bouring country  of  Flanders. 

No  town  in  France  proper 
seems  to  have  possessed  either  a 
municipality  of  importance  in  the 
middle  ages,  nor  consequently  a 
town-hall  of  any  note.  Those 
found  within  its  present  boundaries 
belonged  to  Flanders  or  Germany 
at  the  time  of  their  erection. 

Three  instances  are  here  given, 
which  will  serve  to  illustrate  the 
forms  of  the  art  at  the  three  great 
epochs  of  the  French  Gothic  style. 
The  first  (woodcut  No.  585)  is 
from  a  house  at  Cluny,  and  exhi- 
bits the  round-arched  arcade  with  its  alternate  single  and  coupled 
columns,  which  was  usual  at  that  period,  and  of  which  examples  are 
foiuid  all  over  the  south  of  France,  and  as  far  north  at  least  as 
Auxerre. 


585.    House  at  Cluny.    From  Gailbabaud. 


Chap.  X. 


DOMESTIC  AKCIIITECTUriE. 


715 


Tlio  .st'coiid  (woodcut  No.  58G)  is  from  a  house  at  Yrieix,  aiul  shows 
the  pointed  Gothic  style  in  its  period  of  greatest  development ;   and 


5«6. 


House  at  Yrieix.    From  Gailliabaud. 


although  the  openings  are  of  larger  extent  than  would  be  convenient 
in  this  climate,  still  they  are  not  more  than  would  be  suitable,  and 
give  great  lightness  and  elegance  to  a  fa(^.ade  in  the  south  of  France. 
'I'he  third  example  is  from  the  portal  of  the  Ducal  Palace  at  Nancy 
(woodcut  No.  587).  It  is  an  instance  of  the  form  the  style  took  when 
(jn  the  verge  of  the  Eenaissance  ;  and  though  not  without  elegance,  is 
becoming  strange  and  unmeaning,  and  except  the  balconies,  the  parts 
generally  seem  designed  as  meie  ornaments  without  any  constiuctive 
or  utilitarian  motive. 

One  of  the  most  extensive  as  well  as  one  of  the  best  specimens  of 
French  domestic  architecture  is  the  house  of  Jacques  Cceur,  at  Bourges, 
now  used  as  the  town-hall.  It  was  built  by  the  wealthy  but  ill-used 
banker  of  Charles  VII.,  and  every  part  of  it  shows  evidence  of  careful 
design  and  elaborate  execution ;  it  was  erected  too  at  an  age  before 
the  style  had  become  entirely  debased,  and  as  a  private  residence  in  a 
town,  and  consequently  without  any  attempt  at  fortification,  it  is  the 
best  that  France  now  possesses. 

The  chateau  of  Meillan  (Cher)  is  nearly  a  repetition  of  the  same 
design,  but  at  least  a  hundred  years  more  modem. 

liouen  possesses  several  examples  of  domestic  architecture  of  a  late 
date,  so  does  Paris — among  i^thers,  the  celebrated  Hotel  do  Clugny; 
and  few  of  the  great  towns  are  without  fragments  of  some  sort,  but 
hardly  any  of  sufficient  importance  to  deserve  separate  notice  or  illus- 
tration. 

France  is  not  so  rich  as  either  Germany  or  England  in  specimens 


71(> 


FRENCH   AKCIIITKCTUKE 


Book  ITT. 


Portal  of  the  Ducal  Talace  at  Nancy.     From  iJuauiuerard. 


of  castellated  architecture.  This  does  not  apparently  arise  from  no 
castles  having  hccn  built  during  the  middle  ages,  biit  rather  from  their 
having  been  pulled  down  to  make  way  for  more  convenient  dwellings 
after  the  accession  of  Francis  I.,  and  even  before  his  time,  when  they 
had  ceased  to  be  of  any  use.  Still  the  chateaux  of  Pierrefonds  and 
Coucy  are  in  their  own  class  as  fine  as  anything  to  be  found  elsewhere. 
The  circular  keep  of  the  latter  castle  is  perhaps  unique,  both  from  its 
form  and  dimensions ;  but  being  entirely  gutted  inside,  its  ai-chitec- 
tural  features  are  gone,  and  it  is  difficult  to  understand  how  it  was 
originally  arranged,  and  by  what  means  it  was  lighted  and  rendered 
habitable. 

TancarA^ille  still  retains  some  features  of  its  original  fortifications, 
as  also  do  the  castles  of  Falaise  and  Gaillard. 

The  keeps  of  Vincjeunes  and  Loches  are  still  remarkable  for  their 
height,  thougli  hardly  retaining  any  features  which  can  be  called 
strictly  architcH'tural.     In  the  .South,  the  fortified  towTis  of  Cai'cassonne 


Chap.  X.  CASTELLATED  ARCHITECTURE.  717 

and  Aigncs  Mortes,  and  in  the  North  Fougeres,  retain  as  much  of  their 
walls  and  defences  as  almost  any  places  in  Europe.  Tlie  former  in 
pai-ticnlar,  both  from  its  situation  and  the  extent  of  its  remains,  gives 
a  singnlarly  favourable  and  impressive  idea  of  the  grave  majesty  of  an 
ancient  fortalice.  But  for  alterations  and  desecrations  of  all  sorts, 
the  jialace  of  the  popes  at  Avignon  vFould  be  one  of  the  most  remark- 
able castles  in  Europe  :  even  now  its  extent  and  the  massiveness  of  its 
walls  and  towers  are  most  imposing. 

These  are  either  ruins  or  fragments  ;  but  the  castle  of  Mont  St. 
Michel,  in  Nonnandy,  retains  nearly  all  the  features  of  a  Mediaeval 
fortress  in  sufficient  perfection  t(3  admit  of  its  being  restored,  in  ima- 
gination at  least.  The  outer  walls  still  remain,  encircling  the  village, 
which  nestles  under  the  protection  of  the  castle.  The  clmrch  crowns 
the  whole,  and  aroiind  it  are  grouj)ed  the  halls  of  the  knights,  the 
kitchens  and  offices,  and  all  the  appurtenances  of  the  establishment, 
intermingled  with  fortifications  and  defensive  precautions  that  would 
have  made  the  place  nearly  impregnable  even  without  its  sea-girt 
locality. 


718  J5ELGIAN  ARClHTECTUIiE.  I'xk.k  IV. 


BOOK   IV. 

BELGIUM. 


CHAPTER    I. 


CONTENTS. 


Historical  notice  —  Old  churclies  —  Cathedral  of  Touinay  —  Antwerp  —  St.  Jacques 

at  Liege. 


The  Gothic  arcliitecture  of  Belgium  is  in  many  points  scarcely  in- 
ferior to  that  of  France.  In  a  historical  point  i)f  view  the  series  of 
buildings  is  in  some  respects  even  more  complete.  In  size,  the  cathe- 
drals of  this  country  are  at  least  equal  to  those  that  have  just  been 
described.  In  general  interest,  no  cathedral  of  France  exceeds  that 
of  Tournay,  none  in  gorgeousness  that  of  Antwerp  ;  and  few  surpass 
even  those  of  Louvain,  Mechlin,  Mons,  or  those  of  Bruges  and  Ghent. 
Still  it  must  be  confessed  that  tlie  churches  of  this  country  altogether 
are  deficient  in  artistic  design.  Owing  either  to  the  art  never  having 
been  in  the  hands  of  an  organized  and  educated  body  like  the  clergy 
of  France,  or  to  some  other  lucal  circumstances,  they  never  display 
that  elegance  of  proportion,  and  that  beauty  of  well-considered  and 
appropriate  detail,  which  everywhere  please  and  satisfy  the  mind  in 
contemplating  the  cathedrals  of  France. 

These  remarks  apply  only  to  ecclesiastical  art.  In  specimens  of  the 
civil  and  domestic  architecture  of  the  middle  ages,  Belgium  surpasses 
all  the  rest  of  Europe  put  together.  Her  town-halls  and  markets,  and 
the  residences  of  her  burghers,  still  display  a  degree  of  taste  and  ele- 
gance unsurpassed  by  anything  of  the  age,  and  remain  to  this  day  the 
best  index  of  the  wealth  and  independence  of  the  communities  to  which 
they  belonged. 

The  early  history  of  Belgium,  dating  from  the  withdrawal  of  the 
.  Eomaus,  is  involved  in  much  obscurity.  It  appears  to  have  been  for 
the  most  part  divided  into  various  independent  communities  with  no 
central  authority  or  established  capital.  These  commimities  at  times 
acknowledged  a  very  limited  authority  on  the  part  of  dukes  or  counts, 
and  occasionally  placed  themselves  under  the  protection  of  some 
powerfid  neighbouring  monarch.  But  they  never  relinquished  the 
light  of  self-government,  nor  fell  under  the  power  either  of  feudal 
chiefs  or  of  a  dominant  hierarchy  so  completely  as  almost  all  the  rest 


Chap.  1. 


OLD  CHURCHES. 


•10 


of  Europe.  This  independence  was  immensely  develo])ed  by  the  great 
extension  of  trade  at  a  very  eaih^  period  in  the  cities  of  Belgium. 
Counneicial  activit}^  together  with  the  consequent  increase  of  wealth 
and  power  of  the  cities,  was  necessarily  accompanied  by  the  rise  of  an 
important  class  of  burghers  till  then  unknown  in  Euj-ope. 

These  historical  circumstances  go  far  to  explain  the  peculiar  cha- 
racter observable  in  the  architectural  remains  of  this  country.  We 
find  here  no  trace  of  any  combined  national  effort.  Even  the  epoch 
of  Charlemagne  passed  over  this  province  without  leaving  any  im- 
press on  the  face  of  the  country,  nor  are  there  any  buildings 
that  can  be  said  to  have  been  called  into  existence  by  his  influence 
and  power.  The  great  churches  of  Belgium  seem,  on  the  contrary,  to 
have  been  raised  by  the  individual  exertions  of  the  separate  cities  on 
a  scale  commensurate  to  their  several  requirements.  The  same  spon- 
taneous impulse  gave  rise  to  the  town-halls  and  domestic  edifices, 
which  present  so  peculiar  and  fascinating  an  aspect  of  picturesque 
irregularity. 

Even  the  devastation  by  the  Normans  in  the  9th  and  10th  cen- 
turies seems  to  have  passed  more  lightly  over  this  country  tlian  any 
other  in  the  North  of  Europe.  They  burned  and  destroyed  indeed 
many  of  the  more  flourishing  cities,  but  they  did  not  occupy  them, 
and  when  they  were  gone  the  inhabitants  returned,  rebuilt  their  habi- 
tations, and  resumed  their  habits  of  patient  self-supporting  labour ; 
and  when  these  inroads  ceased  there  was  nothing  to  stop  the  onward 
career  of  the  most  in- 
dustrious and  commer- 
cial community  then 
established  in  Evirope. 
Of  the  oldest  churches 
of  Belgium,  a  large  pro- 
portion are  known  to  us 
only  by  tradition,  hav- 
ing been  pulled  down 
to  make  way  for  the 
larger  and  more  splen- 
did buildings  which 
were  demanded  by  the 
continually  increasing- 
wealth  and  population 
of  the  cities.  Of  those 
which  remain,  one  of 
the  oldest  and  most  in- 
teresting is  that  of  !St. 
Vincent  at  Soignies, 
built  in  965  by  Bruno, 
archbishop  of  Cologne, 
and  though  probably  not  quite  finished  within  that  century,  it  still  re- 
tains the  features  of  the  10  th  century  more  completely  than  almost  any 
church  in  Europe.      This  church,  that  of  St.  Michele  at  Pavia,  and  the 


588. 


View  ol  W'L'St-ciiiJ  of  ChurtU  at  Nivelles. 
by  the  Autbor. 


Kroiii  a  Sketch 


720 


BELGIAN  AllCHlTECTURE. 


Book  IV. 


Minster  at  Ziivicli,  coiistitiitc  a  trio  very  Himilar  to  one  another  in  design 
and  in  size,  and  diflering  jirincipally  in  the  degree  of  finish  they  display, 
this  being  by  far  the  ludest  in  construction  of  the  thi'ec.  It  possessed 
originally  a  western  tower  and  a  central  lantern,  the  upper  parts  of  both 
which  are  niodermzed.  The  east  end  was  square,  though  possessing  a 
shrine,  the  tojnb  of  the  saint  Avhose  name  it  bears.  It  may  have  been 
altered,  and  is  built  up  on  the  outside  so  as  to  render  examination 
impossible. 

Another  church,  only  slightly  more  modern,  that  of  St.  Ger- 
trude at  Xivelles  (woodcut  No.  688),  presents  the  same  peculiarity, 
of  having  a  square  tenniuation  towards  the  east,  though  it  seems  ori- 
ginally to  have  had  an  apse  at  the  west  end,  where  the  facade  was 
carried  up  to  a  considerable  height,  and  adorned  in  the  centre  by  a 
square  tower,  flanked  by  a  circrilar  one   on  each  side.     The  latter 

retain  their  original  fonu, 
though  the  central  tower 
has  been  rebuilt  in  the  15th 
centitiy.  This  church  was 
built  in  the  earliest  years 
of  the  11th  century,  and 
dedicated  in  1045,  the  Em- 
peror Henry  IV.  assisting 
at  the  ceremony.  It  is  a 
first-class  church  with  two 
transepts,  and  remains  ex- 
ternally in  all  essential  par- 
ticulars as  then  built.  The 
interior  was  entirely  de- 
stroyed in  the  middle  of  the 
last  century,  Avhich  is  a  very 
great  loss,  although  the  new 
arrangement  which  has  re- 
placed it  is  in  ith  elf  remark-  i 
ably  well  designed.  I 

Passing  over  some  mi-  i 
nor  examples,  we  come  to 
the  cathedral  of  Toumay, 
to  the  architect  and  artist 
the  most  interesting  of  the 
province.  It  is  a  first-class 
cathedral,  more  than  400  ft. 
in  length,  and  covering 
with  its  depeaidencies  an 
area  of  62,525  ft.  It  con-  I 
sists  of  a  nave,  dedicated 
in  1066  ;  of  a  transept,  built 
about  the  year  1146;  the 
choir,  which  formed  part  of  this  arrangement,  was  dedicated  in  121. 'J, 
but  gave  place  about  a  century  afterwards  to  that  now  standing,  which     | 


589.    Plan  of  Cathedral  at  Toumay.    Scale  100  ft.  to  1  in. 


Chai>.  1. 


CATHEDRAL  OF  TOUHNAY. 


721 


was  dedicated  in  i;5;j8,  so  that  within  itself  it  contains  a  complete 
liistoiy  of  the  style;  and  though  there  is  no  doubt  considerable  in- 
congruity in  the  three  specimens  here  brought  together,  as  they  are 
the  best  of  their  respective  classes  in  Belgium,  the  effect  is  not  un- 
l)leasing,  and  their  arrangement  fortunate,  inasmuch  as,  entering  by 
the  western  door,  you  pass  first  through  the  massive  architecture  of 
the  nth  to  the  bolder  and  more  expanded  features  of  the  12th  cen- 
turv,    a  fitting    vestibule 


to  the  exaggerated  forms 
which  prevailed  during 
the  14th.  in  the  woodcut 
(No.  590)  the  three  st^des 
are  represented  as  they 
stand ;  but  it  would  re- 
quire far  more  elaborate 
illustration  to  do  justice 
to  tbe  beauty  of  the  deeply 
galleried  nave,  wliich  sur- 
passes any  other  specimen 
of  Norman  architecture, 
but  which  is  here  eclipsed 
by  the  two  remaining 
apses  of  the  transept. 
These,  notwithstanding 
a  certain  rudeness  of  de- 
tail, are  certainly  the 
finest  productions  of  their 
age,  and  as  magnificent 
a  piece  of  architecture  as 
can  be   conceived.      The 


590.    Section  ut  Cential  Poi  tion  of  Cliurch  at  Tournay,  looking 
South.    Scale  50  ft.  to  1  in. 


choir  is  the  least  satisfac- 
tory part  of  the  whole  ;  for  though  displaying  a  certain  beauty  of  pro- 
portion, and  the  most  undoubted  daring  of  constriiction,  its  effect  is 
frail  and  weak  in  the  extreme.  Still,  if  the  tracery  were  restored  to 
the  windows,  and  these  filled  with  painted  glass,  great  part  of  this 
defect  might  be  removed.  At  the  best,  the  chief  merit  of  this  choir  is 
its  clever  and  daring  construction.  Even  in  this  the  builder  miscalcu- 
lated his  ovm  strength,  for  it  was  found  necessary  to  double  the  thick- 
ness of  all  the  piers  after  they  were  first  erected.  This  addition  woidd 
have  been  an  improvement  if  part  of  the  original  design,  but  seems 
now  only  to  betray  the  weakness  which  it  was  meant  to  conceal. 

It  is  by  no  means  clear  that  originally  there  were  any  entrances  at 
the  west  front ;  at  least  there  certainly  was  no  central  doorway;  and 
probably  the  principal  entrances  were,  as  in  most  German  churches, 
under  lateral  poi'ches. 

Externally,  the  west  front  had  neither  the  flanking  towers  of  the 
Norman  church,  nor  the  frontispiece  usual  in  Germany,  but  terminated 
in  a  gable  the  height  of  the  wooden  roof  of  the  nave.  The  original 
church  was  triapsal,  and  a  large  square  tower  adoined  the  intersection 

3  A 


722 


BELGIAN  AllCHITECTURE. 


liuoK  n^ 


of  the  nave  and  transept,  which  was  originally  surrounded  by  0  tall 
square  towers  belonging  to  each  of  the  apses.  Four  of  these  still 
exist,  and  Avith  the  remaining  part  of  the  central  tower  form  as  noble 
a  group  as  is  to  bo  found  in  any  church  of  this  province.  In  its 
triapsal  state,  its  superior  dimensions  and  the  greater  height  of  its 
towers  must  have  rendered  it  a  more  striking  building  than  even  the 
Apostles'  C'hurch  at  Cologne  (woodcut  No.  453),  or  indeed  any  other 
church  of  its  age. 

Besides  the  churches  already  described,  there  are  a  considerable 
number  in  Belgium  belonging  to  the  11th  century,  such  as  St.  Bartho- 
lomew at  Liege ;  St.  Servin's,  Maestricht ;  the  church  at  Euremonde 
(almost  an  exact  counterpart  of  the  Apostles'  Church  at  Cologne),  and 
others  of  more  or  less  importance  scattered  over  the  country.  They 
almost  all  possess  the  peculiarity  of  having  no  entrance  in  their  west 
fronts,  but  a  massive  screen  or  frontispiece  surmounted  by  two  or  three 
towers.  This  was  the  arrangement  of  the  old  church  of  St.  Jacques  at 
Liege.  The  church  of  Kotre  Dame  de  Maestricht  presents  a  somewhat 
exaggerated  example  of  this  description  of  front  (woodcut  No.  591).  It 
is  difficult  to  explain  the  origin  of  this  feature,  nor  have  we  any  reason 
to  regret  its  abandonment.  There  can  be  no  doubt  that  the  proper 
place  for  the  principal  entrance  to  a  church  is  the  end  opposite  the 
altar,  which  this  screen  entirely  barred. 

Among  the  smaller  antiquities  of  this  age,  none  are  perhaps  more 
interesting  than  the  little  chapel  of  St.  Sang,  at  Bruges,  biiilt  by 
Thierry  of  Alsace,  on  his  return  from  the  Holy  Land,  a.d.  1150  ;  it  is 


591.    West  Fruul  of  Notre  Dame  de  Maestricht. 
From  Schaye's  Belgiimi. 


592.  Spires  of  the  Chapel  of  St.  Sang,  Bniges. 
From  a  Slietcb  by  tlie  Author. 


Chap.  I. 


TRANSITIONAL  PEIHOI). 


723 


u  small  doxible  cliai)ol,  very  like  those  already  described  as  so  common 
ill  Geiuiany  (p.  584,  and  woodcuts  Nos.  462  and  4(53),  but  less  ornate 
than  these  generally  were  ;  at  one  angle  of  it  are  two  spires,  represented 
in  woodcnt  No.  592.  The  more  slender  of  these  would  not  excite 
remark  if  found  in  Cairo  or  Aleppo,  so  exactly  does  it  take  the  Eastern 
form;  the  other,  on  the  contrary,  seems  to  belong  to  the  IGth  or  17th 
century ;  it  is  only  one,  however,  of  the  numerous  instances  that  go  to 
prove  how  coiupletely  art  returned,  at  the  period  called  the  Eenaissance, 
to  the  point  from  which  it  started  some  four  or  five  centuries  earlier.  It 
returned  with  something  more  of  purity  of  detail  and  better  constiaic- 
tion,  but  unfortunately  without  that  propriety  of  design  and  grandeur 
of  conception  which  mark  even  the  rude  buildings  of  the  first  naia- 
sance  of  Gothic  art. 

Belgium  is  rich  in  small  specimens  of  transitional  architecture, 
and  few  of  her  more  extensive  ecclesiastical  establishments  are  without 
some  features  of  this  class,  often  of  great  beauty.  Their  age  h'as  not 
yet,  however,  been  determined  vnih.  anything  like  precision  by  the 
Belgian  antiquaries ;  but  on  the  whole,  it  seems  that  in  this,  as  in  most 
other  respects,  this  country  followed  the  Geiman  much  more  closely 
than  the  French  type,  hesitating  long  before  it  adopted  the  pointed  arch, 
and  clinging  to  circular  forms  long  after  it  had  familiarly  employed 
the  pointed  arch,  oscillating  between  the  two  in  a  manner  very  puzzling, 
and  requiring  more  care  in  determining  dates  than  any  other  part  of 
Europe.  Besides  this,  none  of  the  Belgian  buildings  have  yet  been 
edited  in  such  a  manner  as  to  aiford  materials  for  the  establishment  of 
any  certain  rule.  Perhaps  the  most  interesting  specimen  of  the  tran- 
sitional period,  and  certainly  one  of  the  most  beautiftil  ruins  in  the 
country,  is  the  abbey  church  of  Villers,  near  Genappe,  a  building 
338  ft.  in  length  by  67  in  width,  built 
with  all  the  purity  of  what  we  would 
call  the  Early  English  style,  but  with 
a  degree  of  experimental  imperfection 
in  the  tracery  of  which  I  hardly  know 
an  examj)le  elsewhere.  The  repre- 
sentation here  given  of  one  of  the 
windows  of  the  transept  will  explain 
this,  and  tkroughout  the  tracery  con- 
sists of  holes  cut  into  slabs  in  this 
manner ;  yet  this  church  is  said  to  have 
been  commenced  in  1225,  and  only 
finished  in  1276.  In  Germany  such  a 
date  would  be  probable  ;  in  France  a 
similar  specimen  would  be  assigTied  to 
a  period  {nnn  70  to  lUO  years  earlier. 

Among  the  many  efforts  made  in  Belgium  to  get  rid  of  the  awk- 
wardness of  the  pointed  fonn  for  windows,  was  that  in  the  choii-  of 
Notre  Dame  de  la  Chapelle,  at  Brussels  (1216?),  where  the  circular 
tracery  is  inserted  in  a  circular-headed  window,  producing  a  much 
more  pleasing  cfi'ect,  both  internally  and  externally,  than  the  pointed 

3  A  2 


593.     Window  In  Churcli  at  VillL-rs,  near  (Jo- 
iiapi)t'.     From  a  Sketch  by  tbe  Author. 


724 


liELGlAN  AliCfHTElTUKK. 


Book  IV. 


.^«t,. 


form,  except  with  reference  to  the  vault,  with  whicli  it  is  so  little  in 
accoi'dance  that  the  experiment  seems  to  have  been  abandoned,  and 
no  attempt  made  afterwards  to  renew  it. 

Besides  those  already  mentioned,  Belgium  possesses  about  twenty 
first-class  churches  of  pointed  architecture,  all  deserving  attentive  con- 
sideration, and  some  of  them  almost  unrivalled  edifices  of  their  class. 
Among  the  earliest  of  these  is  the  cathedral  of  Liege,  begun  in  1189, 
exhibiting  the  style  in  great  purity.  It  has  no  westein  entrance,  but, 
like  St.  Croix,  St.  Jacques,  and  all  the  principal  churches  of  this  city, 
is  entered  by  side  porches. 

A  little  later  we  have  the  eastern  parts  of  St.  Gudule,  Brussels 
(a. I).  1220),  and  two  other  very  beautiful  churches:  Notre  Dame  de 
Tongres  (1240),  and  St.  Martin,  Ypres  (1254).     The  latter  is  perhaps 

the  purest  and  best  speci- 
men of  the  Gothic  of  the 
13th  century  in  Flanders : 
and  of  about  the  same  age  is 
the  beautiful  church  of  N.  D. 
de  Dinant.  These  are  almost 
the  only  important  speci 
mens  of  the  contemporary 
art  which  still  excites  our 
admiration  in  all  the  princi- 
pal cities  of  France — though 
almost  all  the  great  cathe- 
drals in  that  country  belong 
to  this  age,  so  prolific  of 
great  buildings  also  in  Eng- 
land. 

In  the  next  century  we 
have  X.  D.  de  Huy  (1311), 
the  beautiful  parish  church 
at  Aerschot  (1337),  and 
N.  D.  de  Hal  (1341)— small 


-jjJfe^il 


V 


;iHft- 


*-^ 


SI 


V      y    '■i\  /f\  /|J\  •-.-'/ 

y\  iAiXl>:fc:-, 


I   «  *-    -'  /|B  V       '        \       t  A>      * 

>■■*•:  5   i  "    :X   n 

•-KiXiXi  ■- 

■  ■  "  y " 


^'"it: 


s\i/:;;v. 


but  elegant  churches.  The 
two  crowning  examples, 
however,  of  this  age  are 
N.  D.  of  Antwerp  (1352- 
1411),  and  St.  Eombaut,  Ma- 
lines,  commenced  about  the 

iJI      ^'        ia=:-    -'-il  fai  ■        _ 

594.  Plaii  of  the  Cathedral  at  Antwerp.    Scale  100  ft.  to  1  in.     S3,me    tmie.       Ihough    inter- 
nally finished  so  earl3%  the 
works  of  its  great  tower,  like  those  at  Antwerp,  were  continued  till  late 
in  the  next  century. 

Antwerp  cathedral  is  one  of  the  most  remarkable  churches  in 
Europe,  being  390  ft.  long  by  170  in  width  inside  the  nave,  and  cover- 
ing rather  more  than  70,000  square  feet.  As  will  be  seen  by  the  plan, 
it  is  divided  into  7  aisles,  which  gives  a  A'ast  intricacy  and  pic- 
turesqueness  to  the  perspective  ;  but  there  is  a  want  of  harmony  among 


I 


Chat-.  T.  CATHEDRAL  OF  ANTWERP.  725 

the  parts,  and  of  subordination  and  proportion,  sadly  destructive  of 
true  architectural  effect ;  so  that  notwitlistanding  its  size,  it  looks 
much  smaller  internally  than  many  of  the  French  cathedials  of  far  less 
dimensions.  If  there  had  been  at  least  10  bays  in  the  nave  instead 
of  only  7,  and  the  central  aisle  had  been  at  least  10  ft.  wider,  which 
could  easily  have  been  spared  from  the  outer,  the  apparent  size  of  the 
church  would  be  very  much  greater ;  but  besides  this,  it  wants  height, 
and  its  details  show  a  decadence  which  nothing  can  redeem. 

Its  magnificent  portal,  with  its  one  tinislied  tower  406  ft.  in  height, 
Avas  conimenced  in  1422,  but  only  finished  in  1518,  and  more  in  accord- 
ance with  the  taste  of  the  IGth  century  than  of  the  original  design. 
Although  it  is,  in  consequence,  impossible  to  be  satisfied  either  with 
the  outline  or  the  detail,  it  is  still  so  gorgeous  a  specimen  of  art,  and 
towers  so  nobly  over  the  buildings  of  the  city,  as  to  extort  our  ad- 
miration and  regret  that  the  sister  tower  was  not  also  completed  to 
make  uj)  a  faq-ade  which  then  might  for  certain  effects  challenge  any 
that  the  middle  ages  have  produced. 

The  church  of  St.  liombaut  at  Malines,  though  very  much  smaller 
than  that  at  Antwei-p,  being  only  300  ft.  in  length  internally,  and 
including  the  tower,  only  385  ft.  over  all  externally,  is  still  a  far  more 
satisfactory  church  in  every  respect.  Indeed,  it  is  one  of  the  finest 
of  those  which  have  round  pillars  in  the  nave  instead  of  the  clustered 
columns  which  give  such  beauty  and  such  meaning  to  most  of  the 
churches  of  this  age.  It  was  originally  designed  to  have  one  western 
spire,  which,  if  completed,  would  have  risen  to  the  height  of  nearly 
550  English  feet.  It  was  never  carried  higher  than  to  the  commence- 
ment of  the  spire,  320  ft.,  and  at  that  height  it  now  remains.  Even 
as  it  is,  it  is  one  of  the  noblest  erections  of  the  middle  ages,  the 
immense  depth  of  its  buttresses  and  the  boldness  of  its  outline  giving 
it  a  character  seldom  surpassed. 

St.  I'ierre's,  of  Lou  vain,  is  a  worthy  rival  of  these  two ;  for  though 
perhaps  a  century  more  modern,  or  nearly  so,  it  seems  to  have  been 
built  at  once  on  a  uniform  and  well-digested  plan.  This  gives  to 
the  whole  building  a  congruity  which  goes  far  to  redeem  the  defects 
in  its  details.  The  faq'ade  has  never  been  completed,  .which  would 
have  rendered  it  the  noblest  building  of  the  three.  It  was  designed 
on  the  true  German  principle  of  a  great  western  screen,  surmounted 
by  three  spires,  the  central  one  535  ft.  in  height,  the  other  two  430  ft. 
each.' 

These  are  certainly  the  finest  specimens  of  Belgian  ecclesiastical 
art.  Almost  all  the  churches  erected  afterwards,  though  some  of  them 
very  beautiful,  are  characterised  by  the  elaborate  weakness  of  their 
age.  Among  these  may  be  mentioned  St.  Gommaire,  at  Lierre,  com- 
menced A.D.  1 425.  but  not  completed  till  nearly  a  century  afterwards  ; 
and  St.  Jacrpies  at  Antwerp,  a  large  and  gorgeous  church,  possessing 
size  and  proportion  worthy  of  the  best  age,  but  still  un satisfactory, 


'  A  beautiful  dravvins;  of  this  farade   to  a      of  the  city,  and  a  model  in  stone,  from  wliich 
very  large  scale  still  exists  in  the  town-hall      tlie  effect  may  be  seen. 


Hi 


BELGIAN  AIKMIITECTURE. 


Book  IV 


-J-Vs-6^ 


>1^ 


"ix^l 


from  tlio  absence  of  anything  like  true  art  or  design  pervading  it.  The 
same  remarks  do  not  apply  to  St.  Wandrii  at  Mons,  1450-1528,  one  of 
the  very  best  specimens  of  its  age — pleasing  in  proportion  and  elegant 
in  detail.  Internally  a  charming  efiect  of  pol3'chroniy  is  prodnced  by 
the  cold  blue  colour  of  the  stone,  contrasted  with  the  red  brick  filling 
in  of  the  vault ;  this  contrast  being  evidently  a  part  of  the  original 
design.  By  some  singular  freak  of  destiny  it  has  escaped  whitewash, 
so  that  wc  have  hero  one  instance  at  least  of  a  true  mode  of  decoration, 
and  to  a  certain  extent  a  very  good  one.  The  exterior  of  this  church 
is  also  extremely  pleasing  for  its  age.  Its  tower  and  spire  are  unfor- 
tunately among  those  that  we  know  only  fiom  the  original  drawings, 
which  are  still  preserved,  and  show  a  very  beautiful  design. 

Of  about  the  same  age  is  St.  Jacques  at  Liege  (woodcut  No,  595),  a 
church  of  the  second  class  in  point  of  size,  being  only  254  ft.  in  length 

internally,  by  92  ft.  across  the  nave.  At 
the  west  end  it  still  retains  the  screen  of 
the  old  church,  marked  in  black  on  the 
plan.  The  principal  entrance  is  a  splen- 
did porch  of  flamboyant  design  on  the 
north.  The  east  end  may  be  said  to  be  a 
compromise  between  the  French  and  Ger- 
man methods.  It  is  not  a  chevet,  inas- 
much as  it  has  not  the  circumscribing 
aisle,  while  its  circlet  of  chapels  prevents 
its  being  considered  as  a  German  apse. 
Altogether  its  plan  is  characteristic  of 
its  locality,  on  the  borders  between 
France  and  Germany,  mixing  together 
most  of  the  peculiarities  of  both  coun- 
tries. For  its  age  too  the  details  are 
generally  good,  but  construction  is  no 
longer  the  niling  motive,  and  confusion 
is  the  result.  The  most  remarkable 
Ihing  about  the  church  is,  that  it  is 
one  of  the  very  few  churches  in  Eui'ope 
which  retain  their  polychromatic  de- 
corations in  anything  like  completeness, 
especially  on  the  roof.  The  paintings  here  are  late,  bordering  on 
the  cinque-cento  period;  yet  the  effect  produced,  though  gorgeous, 
is  remarkably  pleasing  and  beautiful,  and  ought  at  once  and  by  itself 
to  set  at  rest  the  question  as  to  the  expediency  of  painting  the  vaults  of 
churches,  or  leaving  them  plain.  My  own  conviction  is,  that  all 
French  vaults  were  once  painted  to  as  great  an  extent  as  this  one  is. 
Our  English  architects  often,  I  believe,  depended  on  form  and  carving, 
but  on  the  Continent  this  could  not  be  the  case. 

Of  the  remaining  churches,  St.  Bavon's  at  Ghent,  and  St.  Martin's  at 
Liege,  both  commenced,  as  they  now  stand,  in  the  middle  of  the  16th 


no.-). 


Plan  of  St.  JaL-quos,  Lic.^e.     l''rom 
\VeiiU''s  Arcliitfctural  Papers. 
Sfale  100  feet  to  1  indi. 


century,   arc 


amona;  the  most  remarkable,  and  for  their  age  wonder- 


fully free  from  the  vices  of  Renaissance.     At  the  same  age  in  France, 


Chap.  I.  GOTHIC  CHURCHES.  727 

or  oven  in  England,  tliey  would  have  been  Italianized  to  a  far  greater 
extent. 

But  there  is  scarcely  a  second-rate  town  or  even  a  village  in  Bel- 
gium that  does  not  possess  a  church  of  more  or  less  importance  of  the 
Gothic  age,  or  one  at  all  events  possessing  some  fragment  or  detail 
worthy  of  attentive  study.  This  circumstance  is  easily  explained, 
from  the  fact  that  during  the  whole  of  the  Mediaeval  period,  from  the 
lt»th  to  the  16th  century,  Belgium  was  rich  and  prosperous,  and  since 
that  time  till  the  present  comparatively  so  poor  as  to  have  had  no 
ambition  to  destroy,  and  no  power  to  rebuild.  Considering  its  extent, 
the  country  is  indubitably  richer  in  monuments  than  France,  or  perhaps 
any  other  country  in  Europe  ;  but  the  architecture  is  certainly  not  so 
good  or  satisfactory. 


"28  I'.El.dlAN  AHCHITECTUIJK.  T.ook  TV. 


CHAPTER    IT. 


CONTEXTS. 

Civil  Architecture  —  Belfries  —  Hall  at  Ypres  —  Louvain  —  Brussels  —  Domestic 

Architectiu-e  —  Holland. 


Civil  Architecture. 


The  pre-eminence  of  Belgium  consists  in  lier  civil,  or  rather  lier  muni- 
cipal edifices,  which  surpass  those  of  any  other  country.  None  of  these 
are  very  old,  -which  is  easily  accounted  for.  The  rise  of  commercial 
enterprise  in  Belgium,  though  early  compared  with  other  European 
nations,  was  far  more  recent  than  the  age  of  military  and  ecclesiastical 
supremacy.  In  precisely  the  same  degree  castles  and  churches  preceded 
the  erection  of  town-halls. 

In  the  12th  century,  Avhen  the  monarchy  of  France  was  consoli- 
dating itself,  the  cities  of  Belgium  were  gradiially  acquiring  those 
rights  and  privileges  which  soon  placed  them  among  the  wealthiest 
and  most  prosperous  communities  of  E.urope.  One  of  the  earliest 
architectural  expressions  of  their  newly-acquired  independence  was 
the  erection  of  a  belfry.  The  right  of  possessing  a  bell  was  one  of  the 
first  privileges  granted  in  all  old  charters,  not  only  as  a  symbol  of 
power,  but  as  the  instrument  for  calling  the  community  together, 
either  with  arms  in  their  hands  to  defend  their  walls,  to  repress 
internal  tumults,  for  the  election  of  magistrates,  or  deliberation  on 
the  affairs  of  the  commonwealth.  The  tower  too  on  which  the  bell 
was  hung  was  a  symbol  of  power  in  all  ages,  and,  whether  on  the 
banks  of  the  Scheldt  or  the  Po,  the  first  care  of  e^'cry  cnfi-anchiscd 
community  was  to  erect  a  "tower  of  pride"  pioportionate  to  their 
greatness. 

The  tower  too  was  generally  the  record-office  of  the  city,  the  place 
where  the  charters  and  more  important  deeds  were  preserved  secure 
from  fire,  and  in  a  place  sufficiently  fortified  to  protect  them  in  the 
event  of  civic  disturbances. 

All  these  uses  have  passed  away,  and  most  of  the  belfries  have 
either  falleil  into  neglect  or  been  removed  or  appropriated  to  other 
purposes.  Of  those  remaining,  the  oldest  seems  to  bo  that  of  Tournay, 
a  fine  tower,  though  a  good  deal  altered  and  its  effect  destroyed  by 
more  modern  additions. 

The  belfry  at  Ghent  was  commenced  in  1183,  but  the  stone-work 
was  only  completed  in  1337.  In  1376  a  wooden  spire  was  placed 
upon  it,  making  up  the  height  to  237  ft.  Thi.s  has  been  recjently  taken 
down  in  order  to  complete  the  tower  according  to  the  original  designi, 


Chap.  TT. 


UKLFRIES— MUNICIPAL  HALLS. 


720 


&1 


>,J~'i 


:K^ 


IL/^X, 


which,  like  that  of  most  of  the  unfinished  bxiiklings  of  Belgium,  has 
been  carefully  presei-ved.  ^Vhen  finished  it  will  be  about  300  ft.  in 
height,  and  one  of  the  finest  belfries  in  the  country.  The  Avoodcnt 
No.  o96  is  a  reduction  of  the  original  drawing,  which,  ^.^,^^ 

tliough  not  so  perfect  as  some  others,  gives  a  fair 
idea  of  Avhat  is  intended. 

The  belfry  of  Brussels  was  one  of  the  finest  in 
the  country,  but  after  various  misfortunes  it  fell  in 
1714,  and  is  only  known  now  by  a  model  still  pre- 
served in  the  city. 

At  Ypres  and  Bruges  the  belfries  form  part  of 
the  great  halls  of  the  city.  Those  of  Lierre,  Nieu- 
p(jrt,  Alost,  Furnes,  and  other  cities,  have  been  all 
more  or  less  destroyed  by  alterations,  and  are  more 
interesting  to  the  antiquary  than  to  the  architect, 
besides  that,  like  the  cities  themselves,  they  never 
can  have  been  of  the  first  class,  or  remarkable  for 
au}^  extraordinary  magnificence. 

The  great  municipal  halls,  which  are  found  in  all 
the  principal  cities  of  Belgium,  are  of  three  classes  : 
■ — 1.  Town-halls — the  municipal  senate-houses  and 
courts  of  justice.  2.  Trade-halls  or  market-houses. 
The  principal  of  these  were  cloth-halls,  that  being 
the  great  staple  manufacture  of  Belgium  during  the 
middle  ages.  And  lastly  guildhalls,  or  the  separate 
places  of  assembly  of  the  diff"erent  guilds  or  associ- 
ated trades  of  the  cities. 

As  far  as  existing  examples  go,  it  would  appear 
that  the  trade-halls  were  the  first  erected.  The  cloth- 
liall  at  Ypres  is  by  fiir  the  most  magnificent  and  beau- 
tiful of  these,  as  also  the  earliest.  The  foundation- 
stone  was  laid  in  1200  by  Baldwin  of  Constantinople, 
but  it  was  not  finished  till  104  years  afterwards. 
The  facade  is  440  ft.  in  length,  and  of  the  simplest 
possible  design,  being  perfectly  straight  and  unbroken 
from  end  to  end.  The  windows  of  each  story,  being 
all  of  one  design,  are  repeated,  not  only  along  the  whole  front,  but  at 
each  end.  Its  height  is  varied  by  the  noble  belfry  which  rises  from  its 
centre,  and  by  a  bold  and  beautiful  pinnacle  at  each  end.  The  whole 
is  of  the  pure  architecture  of  the  13th  century,  and  is  one  of  the  most 
majestic  edifices  of  its  class  to  be  seen  anywhere.  It  might  perhaps 
liave  been  improved  by  the  greater  degree  of  expression  and  the 
b;)ldei  shadows  which  lines  brought  down  to  the  ground  would  have 
given  it,  but  as  it  is,  it  is  extremely  pleasing  from  its  simplicity  and 
the  perfect  adaptation  of  its  exterior  to  its  internal  arrangements. 
These  consisted  of  one  vast  hall  on  the  ground-floor,  supported  by 
several  ranges  of  cohnnns,  with  long  galleries  and  great  halls  above  it 
for  the  use  of  the  trade  to  which  it  belonged. 

The  town-liall  at  Bruges  is  perhaps  the  oldest  building  erected 


hJi 


^ 


£^^^- 

596.     Bolt'ry  at  Ghent. 

From  the  original 

drawing. 


730 


BELGIAN  ARCHITECTURE. 


Book  IV. 


especially  for  tliat  purpose  in  Relginni,  tlio  foundation-stone  having 
been  laid  in  1 377.  It  is  a  small  Luilding,  being  only  88  ft.  in  front 
by  65  in  depth,  of  a  singularly  pure  and  elegant  desigii.     Its  small 


59T. 


Cloth-hall  at  Ypres. 


size  causes  it  to  suffer  considerabl}^  from  its  immediate  proximity  to  the 
cloth-hall  and  other  trade-halls  of  the  city.  These,  grouped  with  the 
belfry  in  their  centre,  occupy  one  end  of  the  great  Place,  and,  though 


CiiAP.  IT.  TOWN-HALLS.  731 

not  remarkable  for  beauty,  either  of  design  or  detail,  still  form  a  most 
imposing  mass.  The  belfry  is  one  of  the  most  pictnrcsqnc  towers  in 
the  cdnntry.  Its  original  height  was  35G  ft.,  which  was  diminished 
by  about  60  ft.  by  the  removal  of  the  spire  in  1741.  It  still  towers 
above  all  the  buildings  of  the  city,  and  in  that  flat  country  is  seen  far 
and  wide. 

The  finest  of  the  town-halls  of  Belgium,  built  originally  as  such, 
'  is  that  of  Brussels  (woodcut  No.  598),  commenced  in  1401,  and  finished 
in  1455.  In  dimensions  it  is  inferior  to  the  cloth-hall  at  Ypres,  being 
only  204  ft.  in  length  by  about  50  in  depth,  and  its  details,  as  may  be 
supposed  from  its  age,  are  less  pure ;  but  the  spire  that  surmounts  its 
centre,  rising  to  the  height  of  374  ft.,  is  unrivalled  for  beauty  of  outline 
and  design,  not  only  by  any  spire  in  Belgium,  but  it  might  almost  be 
said  by  any  one  in  Europe.  Notwithstanding  its  late  age,  there  is  no 
extravagance,  either  in  design  or  detail,  about  it ;  but  the  mode  in  which 
the  octagon  is  placed  on  the  square,  and  the  outline  broken  and  varied 
by  the  bold  and  important  pinnacles  that  group  around  it,  produce  a 
most  pleasing  variety,  without  interfering  with  the  main  constructive 
lines  of  the  building.  The  spire,  properly  so  called,  is  small,  so  that 
its  open-work  tracery  is  pleasing  and  appropriate,  which  is  more  than 
can  be  said  for  some  of  its  German  rivals,  where  it  is  quite  unsuited 
to  the  large  scale  on  which  it  is  attempted. 

Next  in  importance  to  this  is  the  well-known  and  beautiful  town- 
hall  at  Louvain  (1448-1463),  certainly  the  most  elaborately  decorated 
piece  of  Gothic  architecture  in  existence.  Though  perhaps  a  little 
over  done  in  some  parts,  the  whole  is  so  consistent,  and  the  outline 
and  general  scheme  of  decoration  so  good,  that  little  fault  can  be  found 
with  it.  In  design  it  follows  very  closely  the  hall  at  Bruges,  but  wants 
the  tower,  which  gives  such  dignity  to  those  at  Brussels  and  Ypres. 

Towards  the  end  of  the  same  century  (1481)  the  inhabitants  of 
Ghent  determined  on  the  erection  of  a  town-hall,  which,  had  it  ever 
been  finished,  would  have  surpassed  all  the  others  in  size  and  richness, 
though  whether  it  would  have  equalled  them  in  beauty  is  more  than 
doul  )tful.  After  a  centuiy  of  interrupted  labour  the  design  was  aban- 
dttned  before  it  was  more  than  two-thirds  completed,  and  now  that 
age  has  softened  down  its  extravagances,  it  is  a  pleasing  and  perhaps 
beautiful  building.  Nothing,  however,  can  exceed  the  extent  of  tor- 
mented and  immeaning  ornament  that  is  spread  over  every  part  of  it, 
showing  great  richness  certainly,  but  frequently  degenerating  into 
very  bad  taste.  The  -architecture  of  the  hall  at  Ypres,  though  only 
half  or  one-third  as  costly  in  proportion  to  its  extent,  is  far  nobler  and 
more  satisfactory  than  this  ever  could  have  been.  But  the  day  of  true 
art  was  past,  and  its  place  was  sought  to  be  supplied  by  the  mere 
extent  of  ornament. 

The  same  remarks  apply  to  the  town-hall  at  Oudenarde,  a  building 
evidently  meant  as  a  copy  of  that  at  Louvain,  combined  with  a  belfry, 
an  imitation  of  that  at  Brussels.  The  result  is  certainly  rich  and 
pleasing  in  its  general  effect;  but  the  details  of  its  age  (1525)  have 
marred  the  execution,  and  given  to  the  whole  a  clumsiness  and  a 


732 


BELOIAN  AliCHITFATrUl^E. 


T5o()K  IV. 


598. 


View  ot'Tiiwii-liall,  Brussels. 


CHAl-.    II. 


TOWN-HALLS. 


7:3:^. 


flijusiness  tliat  gi'catly  detract  from  its  beauty.  Even  the  effect  of  the 
belfry  i.s  spoiled  by  the  temptation  to  exhibit  a  masonic  trick,  and 
make  it  appear  as  if  standing  on  the  two  slight  pillars  of  the  j^orch. 
It  is  clever,  but  apparent  stabilit}'"  is  as  necessary  to  true  architectural 
beauty  as  real  stability  is  to  the  dignity  of  the  art. 

Among  the  smaller  halls  that  of  Muns  is  perhaps  the  most  elegant, 
and  very  similar  to  that  of  St.  Qnentin,  whicli,  though  now  in  France, 
was  a  Flemish  city  at  the  time  of  its  erection. 

In  the  days  of  her  magnificence  Mechlin  attempted  the  erection 
of  a  splendid  hall,  which  was  intended  to  rival  those  of  any  of  the 
neighbouring  to^vns.  Civic  troubles,  however,  put  a  stop  to  the  work 
before  it  was  carried  so  far  as  to  enable  us  now  even  to  determine 
what  the  original  design  was. 

Among  minor  edifices  of  the  same  class  may  be  mentioned  the 
cloth-halls  of  Louvain  and  Ghent,  both  of  the  best  age,  though  i^mall  ; 
and  the  Boucheries  or  meat-markets  of  Diest,  Ypres,  Antwerp,  and 
other  towns — the  boatmen's  lodge  at  Ghent,  and  the  burgesses'  lodge 
at  Bruges,  besides  numerous  other  scattered  memorials  of  civic  mag- 
nificence that  meet  one  everywhere  in  this  great  emporium  of  mediaeval 
industry. 

Of  palaces,  properly  so  called, 
little  remains  in  Belgium  worthy 
of  notice,  unless  it  be  the  palace  of 
the  Bishop  of  Liege  (woodcut  No. 
5',!0),  which,  as  far  as  size  and  rich- 
ness uf  decoration  are  concerned, 
almost  deserves  the  reputation  it 
has  attained.  It  was,  however,  un- 
fortunately commenced  at  an  age 
(1508)  when  the  Gothic  style  was 
all  but  extinct,  and  it  is  impossible 
to  admire  its  stunted  columns  and 
flat  arches  in  such  immediate  prox- 
imity with  the  purer  works  of  the 
preceding  centuries. 

Of  the  same  age  and  style  is 
the  Exchange  at  Antwerp  (1515). 
This  building  is  more  pleasing  in 
its  details,  the  merchants  having 
apparently  clung  longer  to  the 
spirit  that  animated  their  fore- 
fathers than  the  clergy,  who  earlier    599.    Part  of  the  Bishop's  Palace,  Lifege.    No  scale. 

felt  the  influence   of  the    Italian 

Eenaissance.  Neither  of  them  can  be  called  in  strictness  Gothic  build- 
ings, for  the  time  sprrit  of  that  art  had  perished  before  they  were 
commenced. 

Many  of  the  private  dwelling-houses  in  the  Flemisli  cities  are 
picturesque  and  elegant,  though  hardly  rising  to  the  grade  of  speci- 
mens of  fine  art, ;  but  when  grouped  together  in  the  narrow  winding 


734  BELGIAN  ARCHITECTURE.  Book  IV. 

streets,  or  along  the  banks  of  the  canals,  the  resnlt  is  so  varied  and 
charming  that  we  are  inclined  to  ascribe  to  them  more  intrinsic  bcanty 
than  they  really  possess  as  individual  designs.  Most  of  them  are  of 
brick,  and  nsing  the  brick  iindisgnisedly,  and  depending  wholly  on 
such  forms  as  could  be  given  to  that  material,  they  never  offend  oiu' 
taste  by  shams  ;  and  the  honest  endeavour  of  the  citizens  to  ornament 
their  dwellings  externally  meets  here  Avitli  the  success  that  must 
always  follow  such  an  attem})t.  To  exhibit  this  class  of  structures 
adequately  would  require  far  more  illustration  than  is  compatible  AAdth 
a  work  like  the  present,  and  Avould  occupy  the  space  that  more  pro- 
perly belongs  to  buildings  of  a  larger  and  more  monumental  class,  and 
of  higher  pretensions  to  architectural  effect,  both  in  their  design  and 
the  mode  in  which  it  is  carried  out. 


Chap.  I.  POINTED  STYLE  IN  GERMANY.  735 


BOOK  V. 

GERMANY. 


CHAPTER    I. 


CONTEXTS. 

History  of  style  —  St.  Gereon,  Cologne  —  Churches  at  Gelnhausen  —  Marburg  — 
Cologne  Cathedral  —  Friburg  —  Strasburg  —  St.  Stephen's,  Vienna  —  Nurem- 
biu-g  —  Miihlhauaen  —  Erfurth. 


Pointed  Style  in  Germany. 


Having  now  traced  the  history  of  the  pointed  style  of  architecture 
from  its  origin  in  France  till  it  reached  its  highest  degree  of  develop- 
ment and  culture  in  that  country  and  in  Belgium,  it  will  now  he  con- 
venient to  return  to  the  point  where  we  left  the  history  of  the  art  in 
Gennany,  and  resuming  the  thread  of  our  narrative  to  follow  its  his- 
tory in  that  country,  and  point  out  the  peculiarities  which  it  there 
assumed. 

It  is  scarcely  necessary  to  repeat — what  has  heen  already  perhaps 
sufficiently  insisted  upon — that  the  Germans  l)orrowed  their  pointed 
style  from  the  French  at  a  period  when  it  had  attained  its  highest 
degree  of  perfection  in  the  latter  country.  At  all  events,  we  have 
already  seen  the  pointed  style  commonly  used  in  France  in  the  first 
half  of  the  12th  century,  and  nearly  perfect  in  all  essential  parts 
before  the  year  1200;  whereas,  though  there  maybe  here  and  there 
a  solitary  instance  of  a  pointed  arch  in  Germany  (though  I  know  of 
none)  before  the  last-named  date,"  there  is  certainly  no  church  or 
building  erected  in  the  pointed  Gothic  style  whose  date  is  anterior  to 
the  first  years  of  the  13th  century.  Even  then  it  was  timidly  and 
reluctantly  adopted,  and  not  at  first  as  a  new  style,  but  as  a  modifi- 
cation to  be  employed  in  conjtmction  with  their  old  forms. 

This  is  very  apparent  in  the  polygonal  part  of  the  church  of  St. 
Gereon  at  Cologne  (woodcuts  Nos.  GOO  and  (301),  commenced  in  the 
first  year  of  the  13th  century,  and  vaulted  about  the  year  1227.  The 
plan  of  the  building  is  eminently  German,  being  in  fact  a  circular  nave, 
as  contradistinguished  from  the  French  chevet,  and  is  a  fine  bold 
attempt  at  a  domical  building,  of  which  it  is  among  the  last  examples. 
In  plan  it  is  an  irregular  decagon,  55  ft.  wide  over  all,  north  and  south, 
and  6G  ft.  in  the  direction  of  the  axis  of  the  church.  Kotwithstanding 
the  use  of  the  pointed  arch,  the  details  of  the  building  are  as  unlike 


F36 


POINTED  STYLE  IN  GERMANY. 


Hook  V. 


the  contemporary  style  t if  P'' ranee  as  the  plan ;  it  is,  iu  fact,  nearly  a 
century  l)ehind  in  the  employment  of  all  those  expedients  which  give 
chaiacter  and  meaning  to  the  true  pointed  style. 


600. 


Section  of  St.  Gereon,  Cologne.     From  Boisseree,  Nieder  Ehein.    Scale  50  ft.  to  1  in. 


■r 


-^. 


/\ 


.:,.'- 

r; 

liilliii 

;;  i; 

1 

^ 

■•.l®vfS.' 


601. 


Plan  of  St.  Gereon,  Cologne.    From  Boisseree.    Scale  50  ft.  to  i  in. 


Another  church  in  the  same  city,  St.  Cnnibert,  is  a  still  more 
striking  example  of  this.  Commenced  in  the  first  decade  of  the  13th 
centiuy,  and  dedicated  in  1248,  the  very  year  in  which  it  is  said  the 
foundation-stones  of  the  cathedral  were  laid,  it  still  retains  nearly  all 
the  features  of  the  old  Gennan  style,  and  though  pointed  arches  arc 

I 


Chap.  I. 


CHURCH  AT  GELNHAUSEN. 


737 


introcluccd,  aiul  oven  tracery  to  a  limited  extent,  it  is  still  very  far  re- 
moved from  bcinp;  what  could  bo  considered  an  example  of  the  new  style. 
More  advancud  than  either  of  these  is  the  choir  of  the  Cathedral 
of  Magdeburg,  said  to  have  been  commenced  in  1208,  and  dedicated  in 
1254.  This  was  built,  as  before  mentioned,  to  supply  the  place  of  the 
old  circular  church  of  Otho  and  his  English  queen  Edith.  Hence  it 
naturally  took  the  French  chovet  form,  of  which  it  is,  I  believe,  the 
earliest  example  in  Germany,  and  of  which  it  also  copied  rudely  and 
imperfectly  the  details.  Still  it  possesses  the  polygonal  plan,  the 
graduated  buttresses,  the  decorative  shafts,  and  other  peculiarities  of 
the  French  style,  and  if  found  in  that  country,  would  bo  classed  as  of 
about  the  same  age  as  St.  Denis.  The  upper  part  of  the  choir  and  the 
nave  are  of  very  much  later  date,  and  will  be  mentioned  hereafter. 

A  more  interesting  example  of  transition  than  this  is  the  church 
at  Gelnhausen,  unfortunately  not  of  ^well-known  date,  but  apparently 
built  in  the  middle  of  the  13th 
century,  and  the  choir,  it  is  said, 
not  finished  till  1370.     Its  inte- 
rest  lies   in    its   originality,  for 
though  adopting  the  pointed  arch, 
it  does  so  in  a  manner  very  dif- 
ferent from  the  French,  and  as  if 
the    architects  were  determined 
to  retain  a  style  of  their  own. 
In   general  design  its  outline  is 
very  like  that  of  the  church  at 
Sinzig  (woodcut  No.  457),  and 
it  even  attempts  to  copy  its  gal- 
leries, but  allowing  their  pillars 
to    stand   in   front    of  windijws, 
a  mistake  afterwards  carried  in 
Strasburg  and  elsewhere  to  a  far 
more  fatal  extent.     Taken  alto- 
gether, the  style  here  exhibited 
is  light  and  graceful ;  but  it  nei- 
ther has  the  stability  of  the  old 
Rovmd-arched  Gothic,  nor  the  ca- 
pabilities of  the  French  pointed 
style.     The  church  of  Sta.  Maria 
attached     to     the    cathedral    at 
Treves  is  another  of  the  anoma- 
lous churches  of  this  age :   its  plan  has  already  been  given  (woodcut 
jSo.  442),  and  was  probably  suggested  by  the  form  of  the  old  circular 
building  which  it  supplanted  (1227  to  1243).     Perhaps  from  its  prox- 
imity to  France  it  shows  a  more  complete  Gothic  style  than  either  of 
those  already  mentioned ;  still  the  circular  arch  continually  recurs  in 
doorways  and  windows,  and  altogether  the  uses  of  the  pointed  forms 
and  the  general  arrangement  of  parts  and  details  cannot  be  said  to  be 
well  understood.     There  is,  however,  a  novelty,  truly  German,  in  its 

3  B 


602.     East-end  of  Church  at  Gelnhausen.     No  scale. 


738 


POINTED  STYLE  IN  GERMANY. 


Book  V. 


plan,  and  a  simplicity  about  its  arrangement,  which  make  it  the  most 

pleasing  .specimen  of  the  age,  and  standing 
on  the  foundation  of  the  old  church  of  Sta. 
Helena,  and  grouped  with  the  Dom  or 
cathedral,  it  yields  in  interest  to  few 
churches  in  Genuany 

From  these  we  may  pass  at  once  to 
two  churches  of  well-anthenticated  date 
and  of  purely  French  style.  The  first  that 
of  St.  Elizabeth  at  ]\Iarburg.  Her  name  has 
been  already  mentioned  (}).  588)  as  adding 
interest  and  sanctity  to  the  old  castle  on  the 
Wartburg.  Four  years  after  her  death  she 
was  canonised,  and  in  the  same  year,  1235, 
the  foundation  was  laid  of  this  beautiful 
church,  which  was  completed  and  dedicated 
forty-eight  years  afterwards,  in  1283. 

It  is  a,  small  church,  being  only  208  ft. 
in  length  by  69  in  width  internally,  and 
though  the  details  are  all  of  good  early 

French  style,  it  still  exhibits  several  Germanisms,  being  triapsal  in  plan. 


G03.     Plan  of  the  Church  at  Marhurg. 

From  Holler's  Deiikiiiiiler.    Scale  100  ft. 

to  1  in. 


604.  Section  of  Church  at  Marhurg.    Scale  50  ft.  to  1  In. 


ClIAP.  I. 


CIIURCJl  AT  ALTENBUIIG. 


7;}9 


and  tlio  throe  aisles  being  of  the  same  height.  The  hatter  mnst  be  con- 
sidered as  a  serious  defect,  for  besides  the  absence  of  contrast,  either 
the  narrow  side-aisles  are  too  tall  or  the  central  one  too  low.  This  has 
also  caused  another  defect,  of  two  stories  of  windows  throughout  in 
one  height  of  wall,  and  without  even  a  gallery  to  give  meaning  to  such 
an  arrangement.  No  French  architect  ever  fell  into  such  a  mistake, 
and  it  shows  how  little  the  builders,  who  could  not  avoid  such  a 
solecism,  understood  the  spirit  of  the  style  they  were  copying.  The 
west  front  with  its  two  spires  is  somewhat  later  in  date,  but  of  elegant 
design  and  pleasingly  proportioned  to  the  body  of  the  church,  which  is 
rarely  the  case  in  Germany. 

The  other  church  is  that  at  Altenburg,  not  far  from  Cologiic,  on  the 
opposite  side  of  the  river  Ehine.  The 
fomidation-stone  was  laid  in  1255,  and 
tlio  chapels  round  the  choir  completed 
within  a  few  years  of  that  time,  but  the 
works  were  then  interrupted,  and  the 
greater  part  of  the  church  not  built  till 
the  succeeding  century.  Like  all  the 
early  churches  of  the  Cistercian  Order  it 
is  without  towers,  and  extremely  simple  in 
its  outline  and  decorations.  It  is,  in  fact, 
almost  a  copy  of  the  abbey  of  Pontigny 
(woodcut  No.  658),  which  was  built  fully 
a  century  earlier,  and  though  it  does 
show  some  advance  in  style  in  the  intro- 
duction of  tracery  into  the  windows,  and 
more  variety  of  outline  externally,  it  is 
remarkable  how  little  progress  it  evinces 
in  the  older  parts.  In  the  subsequent 
erection  there  are  some  noble  windows 
filled  with  tracery  of  the  very  best  class, 
which  render  this  church  the  best  counter- 
part Germany  can  produce  for  our  own 
Tintern  Abbey,  which  it  resembles  in  many  respects.  Indeed,  taken 
altogether,  this  is  perhaps  the  most  satisfactory  church  of  its  age  and 
style  in  Germany,  in  the  erection  of  which  the  fewest  faults  have  been 
committed.  It  has  been  recently  rescued  from  ruin  by  the  King  ()f 
Pnissia,  but  its  beautiful  conventual  buildings  have  been  destroyed 
by  fire. 

These  examples  bring  us  to  the  great  typical  cathedral  of  Ger- 
many, that  of  Cologne,  which  is  certainly  one  of  the  noblest  temples 
ever  erected  by  man  in  honour  of  his  Creator.  In  this  respect  Ger- 
many has  been  more  fortxxnate  than  either  France  or  England,  for 
though  in  the  number  of  edifices  in  the  pointed  style  and  in  beauty  of 
design  these  countries  are  far  superior,  Germany  alone  possesses  one 
pre-eminent  example  in  which  all  the  beauties  of  its  style  are  united. 

Generally  speaking,  it  is  assumed  that  the  building  we  now  see  is 
that  commenced  by  Conrad  do  Hochstoden  in  the  year  1248.     More 

3  B  2 


605. 


Plan  of  Church  at  Altenburg. 
Scale  100  ft.  to  1  in. 


740 


POINTED  STYLE  TN  GETIMANY. 


Book  V. 


recent  researches  have  proved  that  what  he  clitl  was  to  rebiiild  or  re- 
store ihc    old  duiihlo    apse  cathedral    of  the  9th   centiiry.     But   the 

examiiles  just  quoted,  if 
no  other  proof  were 
available,  are  sufficient 
to  show  that  the  Gothic 
style  was  hardly  then 
introduced  into  Ger- 
many, and  but  very 
little  understood  when 
practised.  .  It  seems 
that  the  present  build- 
ing was  begun  about 
the  year  1270-1275, 
and  the  choir  com- 
pleted in  all  essentials 
as  we  now  find  it  by 
the  year  1322.'  Had 
the  nave  been  com- 
pleted at  the  same  rate 
of  progress,  it  would 
have  shown  a  wide  de- 
viation of  style,  and  the 
western  front,  instead 
of  being  erected  ac- 
cording to  the  beautiful 
design  preserved  to  us, 
would  have  been  cover- 
ed with  stump  tracery, 
and  other  vagaries  of 
the  late  German  school, 
all  of  which  are  even 
now  observable  in  the 
part  of  the  north-west 
tower  actually  erected. 
As  it  is  now  being 
completed  according  to  the  original  design,  one  of  its  principal 
beauties  will  be  the  uniformity  of  style  that  will  reign  throughout. 
In  dimensions  it  is  the  largest  cathedral  of  northern  Europe,  its  ex- 
treme length  being  446,  its  extreme  breadth  250,  and  its  superficies 
81,464  ft.,  which  is  10,000  ft.  more  than  are  covered  by  Amiens,  and 
at  least  15,000  more  than  Amiens  was  originally  designed  to  cover. 
On  comparing  the  eastern  halves  of  these  two  from  the  centre  of  the 
intersection  of  the  transept,  it  will  be  found  that  Cologne  is  an  exact 
copy  of  the  French  cathedral,  not  only  in  general  arrangement,  but 
also  in  dimensions,  the  only  difference  being  a  fev/  feet  of  extra  length 


006. 


Plan  of  Cathedral  at  Cologne.    From  Boisseree. 
Scale  100  ft.  to  1  in. 


'  The  best  resume  of  the  arguments  on  this      and  M.  Boisseree,  in  Didron's  Annales  Arrhc- 
(inestion  will  be  found  in  the  controversy  car-      ologiques,  vol.  vii.  et  seq. 
ried  on  by  F.  de  Verneilh,  the  Baron  de  liosier, 


Chap.  I.  COLOGNE  CATHEDRAL.  741 

of  the  choir  at  Cologne,  more  tlian  made  tip  at  Amiens  by  the  pro- 
jection of  the  lady  chapel.  The  nuA'e,  too,  at  Cologne  is  one  bay  less 
in  length.  On  the  other  hand,  the  Gennan  building  exceeds  the 
I'^reuch  by  one  additional  bay  in  each  transept,  the  two  extra  aisles 
in  the  nave,  and  the  enonnons  snbstructnres  of  the  western  towers. 
All  these  are  decided  faults  of  design  into  which  no  French  architect 
would  have  fallen. 

Jjooking  at  Cologne  in  any  light,  no  one  can  fail  to  perceive  that 
its  principal  defect  is  its  relative  shortness.  If  this  was  unavoidable, 
at  least  the  transept  should  have  been  omitted  altogether  as  at  Bourges, 
or  kept  within  the  line  of  the  walls,  as  at  Paris,  Eheims,  and  else- 
where. It  is  true,  our  long  low  English  cathedrals  require  bold  pro- 
jecting transepts  to  relieve  their  monotony ;  but  in  Cologne  their 
projection  detracts  both  internally  and  externally  from  the  requisite 
appearance  of  length.  Indeed,  this  seems  to  have  been  suspected,  as 
the  f\\(^ades  of  the  transepts  were  the  least  finished  parts  of  the  building 
wlien  it  was  left,  and  the  modern  restorers  would  have  done  well  if 
they  had  profited  by  the  hesitation  of  their  predecessors,  and  omitted 
an  expensive  and  detrimental  addition. 

Another  defect  before  alluded  to  is  the  double  aisles  of  the  nave. 
It  is  tnie  these  are  found  at  Paris,  but  that  was  an  early  experiment. 
At  Bourges  the  fault  is  avoided  by  the  aisles  being  of  different  heights ; 
but  in  none  of  the  best  examples,  such  as  Eheims,  Chartres,  or  Amiens, 
would  the  architects  have  been  guilty  of  dispersing  their  effects  or 
destroying  their  perspectives  as  is  done  here.  Perhaps  the  greatest 
mistake  in  proportion  is  the  mass  and  enormous  height  of  the  western 
towers — actually  greater,  according  to  the  design,  than  the  whole 
length  of  the  building :  a  circumstance  which,  if  they  are  ever  com- 
pleted, will  give  to  the  whole  cathedral  a  look  of  shortness,  which 
nothing  can  redeem.  With  such  a  ground-plan  a  tme  architect  would 
have  reduced  their  mass  one-half,  and  their  height  by  one-third  at  least. 

Besides  its  great  size,  the  cathedral  of  Cologne  has  the  advantage  of 
having  been  designed  at  exactly  the  best  age  ;  while,  as  before  remarked, 
the  cathedrals  of  Eheims  and  Paris  were  a  little  too  early,  St.  Otien's  too 
late.  The  choir  of  Cologne,  which  we  have  seen  to  be  of  almost  identical 
dimensions  with  that  of  Amiens,  excels  its  French  rival  internally  by 
its  glazed  triforium,  the  exquisite  tracery  of  the  windows, 'the  general 
beauty  of  the  details,  and  a  slightly  better  proportion  between  the 
height  of  the  aisles  and  clerestory.  But  this  advantage  is  lost  exter- 
nally by  the  forest  of  exaggerated  jDinnacles  which  crowd  round  the 
upper  part  of  the  building,  not  only  in  singular  discord  with  the  plain- 
ness of  the  lower  story,  but  hiding  and  confusing  the  perspective  of 
the  clerestory,  in  a  manner  as  objectionable  in  a  constructive  point  of 
view  as  it  is  to  the  eye  of  an  artist.  Decorated  construction  is,  no 
d()ul)t,  the  great  secret  of  true  architecture ;  but  like  other  good 
things,  this  may  be  overdone.  One-half  of  the  abutting  means  here 
employed  might  have  been  dispensed  with,  and  the  other  half  disposed  so 
simply  as  to  do  tlie  work  without  the  confusion  produced  here.  When 
we  turn  to  the  interior  to  see  what  the  vault  is,  which  this  mass  of 


r42 


POINTED  STYLE  IN  GEllMANY, 


Book  V. 


50 


lUO 


SOU  ft 


1^1        i        i i i i i T      I        I  I 

(iOi.  --JrHtMHlotl-Wostcrn  Fiipiule  of  Catlicilral  of  Cologne.    From  BoisscriJc. 


/JJU. 


*d^y 


^  ■  V<<[c^C^^>e^S.-      (^"^  •  2'«>^ 


CiiAi'.  T.  COLOGNE  CATHEDRAL.  743 

ubntmcnts  is  provided  to  support,  we  find  it  with  all  the  defects  of  French 
vaulting— flic  ribs  few  and  weak,  the  ridge  undulating,  the  surfaces 
twisted,  and  tlie  general  efitect  poor  and  weak  as  compared  with  ilie 
gorgeous  walls  that  support  it.  Very  judicious  painting  might  remedy 
tliis  to  some  extent ;  but  as  it  now  stands  the  effect  is  most  unpleasing. 

The  noblest  as  well  as  the  most  original  part  of  the  design  of  this 
cathedral  is  the  western  fa(^.ade  (woodcut  No.  607).  Had  this  been 
completed,  it  would  rise  to  the  height  of  510  ft.  This  front,  consi- 
dered as  an  independent  feature,  without  reference  to  its  position, 
is  a  very  grand  conception.  It  equals  in  magnificence  those  designed 
for  Strasburg  and  Louvain,  and  surpasses  both  in  purity  and  elegance. 
If  is  very  (questionable  if  the  open  work  of  the  spires  is  not  carried 
to  far  too  great  an  extent ;  and  even  the  lower  part  is  designed  far 
too  much  by  rule.  M.  Boisseree  says,  "  the  square  and  the  triangle 
liere  reign  supreme;"  and  this  is  certainly  the  case:  every  part  is 
designed  with  the  scale  and  the  compasses,  and  with  a  mathematical 
precision  perfectly  astonishing;  but  we  miss  all  the  fanciful  beauty  of 
the  more  irregular  French  and  English  examples.  The  storied  porches 
of  Eheims,  Chartres,  and  Wells  comprise  far  more  poetry  within  their 
limited  dimensions  than  is  spread  over  the  whole  sitrface  of  this  gigantic 
frontispiece.  Cologne  is  a  noble  conception  of  a  mason.  These  weie 
the  works  of  artists  in  the  highest  sense  of  the  word. 

It  is  certainly  to  be  regretted  that  there  is  no  contemporaiy  French 
example  to  compare  witli  this,  so  that  we  might  have  been  enabled 
to  bring  this  to  a  clearer  test  than  words  can  do.  St.  Ouen's  comes 
nearest  to  it  in  age  and  style,  but  it  is  so  very  much  smaller  as  hardly 
to  admit  of  comparison  ;  for  though  the  length  of  the  two  churches  is 
nearly  identical,  the  one  covers  81,000  square  feet,  the  of  her  only 
47,000.  Yet  so  judicious  is  the  disposition  of  the  smaller  church,  and 
so  excjuisite  its  proportions,  that  notwithstanding  the  lafe  age  of  its 
nave,  and  the  barbarism  of  its  modern  front,  it  is  infernally  a  more 
beautiful  and  almost  as  imposing  a  church  as  that  of  Cologne,  and 
externally  a  far  more  pleasing  study  as  a  work  of  art.  Had  Marc 
d' Argent  commenced  his  building  at  the  same  time  as  Cologne,  and 
seen  it  completed,  or  left  his  design  for  it  before  1322,  even  with  its 
smaller  dimensions  it  would  have  been  by  far  the  nobler  work  of  art 
of  the  two.  These,  however,  are  vain  speculations.  We  see  in 
Cologne  the  finest  specimen  of  masonry  attem2)ted  in  the  middle  ages  ; 
and  notwithstanding  its  defects,  we  may  hope  to  see  in  the  completed 
design  a  really  beautiful  and  noble  building,  worthy  of  its  builders 
and  of  the  religion  to  which  it  is  dedicated. 

Fortunately  we  are  not  left  only  to  the  drawings  of  the  facade  of 
Cologne  to  enable  us  to  judge  of  what  the  effect  t>f  these  open-work 
spires  would  be  if  completed ;  for  at  Friburg,  in  the  Brisgau,  theie  is 
a  contemporary  example,  commenced  in  1 283,  and  finished  in  1 330.  This 
line  spire  is  identical  in  style  with  the  Cologne  designs,  and  perhaps  on 
the  whole  even  better,  cerfaiuly  purer  and  sinqiler  both  in  outline  and 
detail,  thougli  it  is  not  clear  that  the  richer  ornament  of  Cologne  woidd 
not  be  more  in  accordance  with  this  description  of  lace-work. 


744 


POINTED  STYLE  IN  GERMANY. 


Book  V. 


-  *  '^^^S^'$^M:-S'^=^ 


608. 


View  of  the  Church  at  Friburg.    From  MoUer's  Denkmaler. 


CuAP.  I.  OPEN-WOKK  SPIKES.  745 

The  total  height  of  the  spire  at  Fiibui-g  is  885  ft.  from  the  ground, 
and  is  divided  into  throe  parts.  Tlio  lower  is  a  sqnare,  plain  and 
simple  in  its  details,  with  bold  prominent  buttresses,  and  containing 
a  very  handsome  porch.  The  second  is  an  octagon  of  elegant  design, 
with  four  triangular  pinnacles  or  spirelets  at  the  angles,  which  break 
most  liappily  the  change  of  outline,  and  out  of  this  rises,  somewhat 
abruptly,  the  spire  155  ft.  in  height.  An  English  architect  would 
have  placed  8  bolder  pinnacles  at  its  base ;  a  French  one  would 
have  used  a  gallery,  or  taken  some  means  to  prevent  the  cone  from 
merel}'  resting  on  the  octagon.  This  junction  between  the  two  is  poor 
and  badly  managed  ;  but  after  all,  the  question  is,  whether  or  not  the 
open  spire  is  not  a  mistake,  which  even  the  beauty  of  detail  found  here 
cannot  altogether  redeem.  It  is  not  sufficient  to  say  it  is  wrong, 
because  a  spire  is  a  roof,  and  this  is  not.  It  is  true  a  spire  was  a  roof, 
and  it  still  retains  the  place  of  one,  and  consequently  should  suggest 
the  idea ;  but  this  is  not  absolutely  indispensable ;  and  if  the  tower 
were  insufficient  to  support  the  apjjarent  weight  of  a  solid  spire,  or  for 
any  such  reason,  the  deviation  would  be  excusable,  but  such  is  not  the 
case  here,  nor  at  Cologne. 

Indeed,  it  seems  that  the  whole  is  only  another  exemplification  of 
the  ruling  idea  of  the  Gennan  masons,  an  excessive  love  of  "  tours  de 
force,"  and  an  inordinate  desire  to  do  clever  things  in  stone,  which  soon 
led  them  into  all  the  vagaries  of  their  after  Gothic  ;  here  it  is  compa- 
ratively inoffensive  :  still  I  feel  convinced  that  if  one-half  the  openings 
of  the  tracery  were  filled  up,  or  only  a  central  trefoil  or  quatrefoil 
left  open  in  each  division,  the  effect  would  be  far  more  pleasing  and 
satisfactory. 

In  the  spires  that  flank  the  transepts,  the  open-work  is  wholly  un- 
objectionable, owing  to  the  smallness  of  the  scale ;  but  in  the  main 
and  principal  feature  of  the  building  the  case  is  very  different :  dignity 
and  majesty  are  there  required ;  and  this,  the  flimsiness,  as  it  might 
almost  be  called,  of  the  open  work,  goes  far  to  destroy. 

The  nave  of  this  church  is  a  fair  specimen  of  the  German  Gothic 
of  the  age,  being  contemporaiy  with  the  spire,  or  perhaps  a  little 
earlier  ;  but  the  want  of  the  triforium  internally,  and  the  consequent 
heavy  mass  of  plain  wall  over  the  pier-arches,  give  it  a  poor  and  weak 
appearance.  The  choir,  a  work  of  the  1 5th  century,  runs  into  all  the 
extravagance  of  the  later  German  style,  its  only  merits  being  its  size 
and  lightness. 

Of  the  other  open-work  spires  of  Germany,  one  of  the  most  beau- 
tiful is  that  of  Thann  in  Alsace.  Here  the  octagonal  part  is  so  light, 
that  anything  more  solid  than  the  tracery  that  forms  the  spires  would 
seem  to  crush  it. 

Besides  these,  there  is  a  pleasing  example  at  Esslingen ;  one 
attached  to  the  cathedral  at  Meissen,  in  favour  of  which  nothing  can 
be  said  ;  and  that  adorning  the  two  towers  of  the  fa(;'ade  of  the  cathedral 
of  Berne,  which,  because  they  are  so  small  relatively  to  the  towers 
they  surmount,  and  are  in  fact  mei'e  ornaments,  are  pleasing  and 
graceful  terminations  to  the  front. 


746 


POINTED  STYLE  IN  GERMANY. 


Book  V. 


Strasburg. 

Next  in  rank  to  (.'olof^-nc  among  German  eathetlrals  is  that  at  Stras- 
burg. It  is,  however,  so  much  smaller  as  hardly  to  admit  of  a  fair 
comparison,  covering,  even  vsdth  its  subsidiary  adjuncts,  little  more 
than  00,000  square  feet.  Tlic  whole  of  the  eastern  part  of  this  church 
belongs  to  an  older  basilica,  built  in  the  11th  and  12th  centuries,  and 
i  s  by  no  means  remarkable  cither  for  its  beauty  or  its  size,  or  at  least  is 
so  overpowered  by  the  nave,  which  has  been  added  to  it,  as  to  render  its 
appearance  somewhat  insignificant.     The  nave  and  the  western  front 

are  the  glory  and 
boast  of  Alsace,  and 
possess  in  a  remark- 
able degree  all  the 
beauties  and  defects 
of  the  German  style. 
It  is  not  known 
when  the  nave  was 
commenced,  but  pro- 
bably in  the  early 
half  of  the  13th  cen- 
tury, and  it  seems 
to  have  been  finish- 
ed about  the  year 
1275,  a  date  which, 
if  authentic,  is  in  it- 
self quite  sufficient 
to  settle  the  contro- 
versy as  to  whether 
any  part  of  Cologne 
is  earlier,  every- 
we  see  here 
of  an  older 
style  than  anything 
in  that  church. 

Be  this  as  it  may, 
the  details  are  pure 
and    beautiful,    and 

609.  Plan  of  Strasburg  Catbftdral.    Scale  100  ft.  to  1  in.  the  design  of  singu- 

lar boldness.  The 
central  aisle  is  53  ft.  2  in.  wide  from  centre  to  centre  of  the  piers,  and 
the  side-aisles  34  ft.  wide,  while  the  corresponding  dimensions  at 
Cologne  are  only  48  ft.  and  27  respectively.  Notwithstanding  this, 
the  vaiilt  at  Strasburg  is  only  101  ft.  in  height  against  145  at  Cologne. 

This  comparative  lowness  of  the  nave  at  Strasburg  is  greatly  in 
its  favour.  The  length,  which  is  only  250  ft.,  is  made  the  most  of,  and 
the  shortness  of  the  cathedral  is  not  perceived. 

It  does  not  appear  that  Erwin  von  Steinbach  had  anything  to  ilo 
with  this  part  of  the  structure,   beyond  repairing   the  vault  when 


thing 
being 


CiiAi'.  T. 


STUASliUKG. 


747 


iMtf*"^ 


61U. 


West  Front  of  CatUcdral  at  Strasburg. 


748  POINTED  STYLE  IN  GERMANY.  Book  V. 

damaged  by  fire  in  1 298,  at  wliicli  time  lie  also  introduced  some  new 
featiuvs  i)f  no  great  importance,  hnt  sufficient  in  some  degree  to  confuse 
the  clironology.  What  he  really  did,  Avas  to  commence  the  western 
fa(,'ade,  of  which  he  laid  the  foundation  in  1277,  and  superintended 
the  erection  till  his  death,  41  years  afterwards,  when  he  was  succeeded 
by  his  sons,  who  carried  it  up  to  the  platform  in  13G5. 

The  (Tcrmans,  however,  wishing  to  find  a  name  to  place  in  their 
Walhalla,  have  tried  to  exalt  Erwin  into  a  genius  of  the  highest  order, 
ascribing  to  him  not  only  the  nave,  but  also  the  design  of  the  spire  as 
it  now  stands.  If  he  had  anything  to  do  with  the  former,  he  must 
have  been  promoted  at  a  singularly  early  age  to  the  rank  of  master- 
mason,  and  been  a  most  wonderfully  old  man  at  the  time  of  his  death ; 
and  if  he  designed  the  spire,  he  must  have  had  a  strangely  prophetic 
spirit  to  foresee  forms  and  details  that  were  not  invented  till  a  century 
after  his  death !  The  fact  is,  Erwin  did  no  more  than  every  master- 
mason  of  his  age  could  do.  There  is  no  novelty  or  invention  in  his 
design,  and  only  those  mistakes  and  errors  which  all  Germans  fell 
into  when  working  in  Pointed  Gothic.  In  the  first  place,  the  fac^ade 
is  much  too  large  for  the  church,  which  it  crushes  and  hides.  In- 
stead of  using  the  resources  of  his  art  to  conceal  this  defect,  he 
jnade  the  vault  of  the  ante-chapel  equal  in  height  to  that  of  Cologne. 
Consequently  the  centre  of  the  great  western  rose  window  is  just  as 
high  as  the  apex  of  the  vault  of  the  nave.  It  is  true  it  can  be  seen  in 
l^erspective  from  the  floor  of  the  church,  but  the  arrangement  seems  as 
if  it  had  been  expressly  intended  to  make  the  church  both  low  and  out 
of  proportion. 

The  spiral  staircases  at  the  angles  of  the  spire  are  marvels  of  work- 
manship, and  the  whole  is  well  calculated  to  excite  the  wonder  of  the 
vulgar,  though  it  must  be  condemned  by  the  man  of  taste  as  very 
inferior  in  every  respect  to  the  purer  designs  of  an  earlier  age. 

It  is  not  known  whether  the  original  design  comprised  two  towers, 
like  those  of  the  great  French  cathedrals,  or  was  intended  to  termi- 
nate with  the  flat  screen  facade.  Probably  the  latter  was  the  case,  as 
mass  and  not  proportion  seems  to  have  been  this  architect's  idea  of 
magnificence. 

The  spire  that  now  crowns  this  front,  rising  to  a  height  of  468  ft. 
from  the  ground,  was  not  finished  till  1439,  and  betrays  all  the  faults 
of  its  age.  The  octagonal  part  is  tall  and  weak  in  outline,  the  spire 
ungraceful  in  form,  and  covered  with  an  unmeaning  and  constructively 
useless  system  of  tracery. 

Besides  the  fault  of  proportion  for  which  the  design  of  Erwin  is 
clearly  blameable,  all  his  work  betrays  the  want  of  artistic  feeling 
which  is  characteristic  of  the  German  mason.  Every  detail  of  the 
lower  part  of  the  front  is  wire-drawn  and  attenuated.  The  defect  of 
putting  a  second  line  of  unsjanmetrical  tracery  in  front  of  windows,  the 
first  trace  of  which  we  remarked  upon  in  speaking  of  Gelnhausen,  is 
here  carried  to  a  painful  extent.  The  long  stone  bars  which  protect 
and  hide  the  windows  are  admirable  specimens  of  masonry,  but  they 
are  no  more  beauties  than  those  which  protect  our  kitcshen  windows  in 


Chap.  I. 


EATISBON— ULM. 


749 


luodora  times.  The  si)reacling  the  tracery  of  the  windows  over  the 
neighbouring  walls,  so  as  to  make  it  look  large  and  nnifoi-m,  is  another 
solecism  found  botli  hero  and  at  Cologne,  utterly  unworthy  of  the  art, 
and  not  found  in,  I  believe,  a  single  instance  in  France  and  England, 
where  the  style  was  so  much  better  understood  than  here. 

iUtogetlier  the  cathedral  at  Strasburg  is  a  building  imposing  from 
its  mass,  and  fascinating  from  its  richness  ;  but  there  is  no  building 
in  either  France  or  England  where  such  great  advantages  have  been 
tlirown  away  in  so  reckless  a  manner  and  by  so  unintelligent  a  hand. 

The  cathedral  at  Eatisbon  is  a  far  more  satisfactory  specimen  of 
German  art  than  that  of  Strasburg.  It  is  a 
.small  building,  only  272  ft.  in  length,  and 
114  in  breadth  internally,  and  covering 
about  32,000  ft.  It  was  commenced  in 
the  year  1275;  the  works  were  continued 
for  more  than  two  centuries,  and  at  last 
abandoned  before  the  completion  of  the 
church. 

As  will  be  seen  from  the  plan  (wood- 
cut Xo.  611),  it  is  much  more  German 
than  French  in  its  arrangements,  having 
three  apses  instead  of  a  chevet.  The  side 
aisles  are  wide  in  proportion  to  the  cen- 
tral one,  the  transept  subdued,  and  alto- 
gether it  is  more  like  the  old  round 
Gothic  basilica  than  the  French  church. 
It  has  two  stories  of  windows  in  the  apse, 
as  at  Marburg.  There  the  arrangement 
is  unmeaning  and  offensive ;  here  the 
nave  has  side  aisles  and  a  clerestory : 
thus  the  upper  windows  of  the  af)se  are  a 
continuation  of  the  clerestory  windows 
of  the  nave,  and  the  effect  is  not  i;n- 
pleasing.     The  details  of  this  church  are 

singularly  pleasing  and  elegant  throughout,  and  produce  on  the  whole 
a  harmony  not  commonly  met  with  in  German  churches  of  this  age 
and  style. 

If  size  were  any  real  test  of  beauty,  the  cathedral  at  Ulm  ought  to 
be  one  of  the  finest  in  Germany,  being  just  twice  as  large  as  that  at 
Eatisbon,  covering  63,800  ft.  So  far  also  as  constructive  merit  is  con- 
cerned, it  is  perhaps  the  best ;  for  though  I  have  no  plan  I  can  quite 
rely  upon,  I  believe  that  not  more  than  one-fifteenth  of  the  area  is  occu- 
pied by  the  supports  ;  nor  is  this  church  sui-jiassed  by  many  in  sharp 
and  clever  mechanical  execution  of  the  details.  With  all  this  it  would 
be  difficult  to  find  a  colder  and  more  unimpressive  design  than  is  here 
carried  out :  both  internally  and  externally,  it  is  the  work  of  a  very 
clever  mason,  but  a  singularly  bad  artist.  The  freemasons  had,  when 
it  was  founded  (1377),  got  possession  of  the  art  in  Germany;  and 
here  the}^  carried  their  system  to  its  acme,  and  with  a  result  which 


611. 


Plan  of  Eatisbon  Cathedral. 
Scale  100  ft.  to  1  in. 


750  POINTED  STYLE  IN  GERMANY.  Book  V. 

©very  one  with  the  smallest  appreciation  of  art  can  perceive  at  once. 
It  is  said  that  in  the  original  design  the  ontcr  range  of  pillars,  dividing 
tlie  side  aisle  into  two,  was  to  have  been  omitted,  which  would  have 
made  it  even  worse  than  it  is.  Its  one  western  tower,  had  it  been 
completed,  would  have  been  more  beautiful  than  that  at  Strasburg ;  and 
besides  being  actually  higher  (483  ft.,  according  to  the  still-preserved 
design),  would  have  appeared  taller  from  standing  alone.  Its  form,  too, 
is  more  pleasing ;  and  though  its  details  are  far  more  suited  for  exe- 
cution in  cast-iron  than  in  stone,  it  would  have  rivalled,  perhaps  sur- 
passed, those  at  Antwerp  or  Mechlin.  It  was,  however,  caiTied  to  the 
height  of  only  220  ft.,  when,  either  from  the  Avant  of  funds  or  the 
failure  of  the  foundation,  the  work  was  abandoned. 

St.  Stephen's  of  Vienna  ranks  fourth  or  fifth  among  the  great  churches 
of  Germany,  both  for  size  and  richness  of  decoration.  Its  length,  in- 
ternally, is  337  ft.,  its  width  115,  and  it  covers  about  52,000  square  ft. 
As  far,  however,  as  the  body  of  the  church  is  concerned,  it  would  be 
difficult  to  find  anything  in  all  Europe  worse  designed  or  more  inap- 
propriately ornamented.  Internally  the  three  aisles  are  nearly  of  the 
same  width  and  height.  There  is  no  clerestory,  but  one  enormous 
wooden  roof,  108  ft.  in  height  above  the  walls,  covers,  like  an  extin- 
guisher, the  whole  body  of  the  church.  The  centaal  aisle  is  onl}^  92  ft. 
high  internally,  and  covered  with  a  vault  of  most  unpleasing  foim. 
The  great  glory  of  this  church  consists  in  its  two  spires,  one  of  which 
is  finished,  the  other  only  carried  to  aboiit  one-third  of  its  intended 
height.  Their  position  is  unfoiiunate,  as  they  are  placed  where  the 
transepts  should  be,  so  that  they  neither  form  a  facade  nor  dignify  the 
sanctuary.  In  itself,  however,  the  finished  spire  is  the  richest,  and, 
excepting  that  at  Friburg,  perhaps  the  most  beautiful  of  all  those  in 
Germany.  Its  total  height,  exclusive  of  the  eagle,  is  441  ft.,  rising 
from  a  base  of  about  64  ft.,  and  gradually  sloping  from  the  ground  to 
the  summit,  where  it  forms  a  cone  of*the  unprecedentedly  small  angle 
of  little  more  than  9  degrees.  The  transition  from  the  square  base 
to  an  octagonal  cone  is  so  gradual  and  so  concealed  by  ornament,  that 
it  is  difficult  to  say  where  the  tower  ends  and  the  spire  begins.  This 
gives  a  confusion  and  weakness  to  the  design  by  no  means  pleasing. 
Indeed  the  whole  may  be  taken  as  an  exemplification  of  all  the  Ger- 
man principles  of  design  carried  to  excess,  rather  than  as  a  perfect 
example  of  what  such  an  object  should  be.  It  deserves  to  be  remarked 
that  there  is  no  open  work  in  the  spire,  though,  from  its  own  tenuity 
and  the  richness  of  the  tower,  there  is  no  example  where  it  would  have 
been  less  objectionable. 

In  adopting  the  pointed-arched  style,  the  Germans  generally  aban- 
doned their  fixvouritc  double-apse  arrangement ;  and  though  they  seldom 
adopted  the  whole  of  the  chevet,  preferring  their  own  simple  apse  to 
it,  it  seems  to  have  been  only,  or  at  least  generally,  where  an  old 
Eound  Gothic  double-apse  church  existed  previotisly,  that  this  arrange- 
ment was  continued  after  the  commencement  of  the  13th  century. 
Naumberg,  the  nave  of  which  was  commenced  about  the  year  1200,  is 
an  instance  of  this.     This  was  no  doubt  inserted  between  two  oldci' 


Chap.  I. 


ST.  STEPHEN'S,  VIENNA. 


751 


012.         View  of  the  Spire  of  St.  Stephen's,  Vienna.    From  Chiesi  Principall  d'  Kuropa. 


752  POINTED  STYLE  IN  GERMANY.  Book  V. 

apses,  both  of  wliicli  wcro  rebuilt  at  a  later  age,  forming  two  very 
bcaTitiful  and  extcnsivo  choirs.  The  whole  makes  a  very  pleasing  and 
interesting  church,  though  there  certainly  is  an  architectural  incon- 
gruity in  entering  by  the  side,  and  the  double-apse  arrangement  is  un- 
familiar and  nearly  unintelligible  to  us  at  the  present  time. 

A  still  better  example  is  the  cathedral  at  Bamberg,  which,  judging 
from  its  date,  ought  to  be  in  the  complete  pointed  style.  Though  its 
east  end  dates  from  1220,  and  the  west  1257,  it  is  still  so  completely 
transitional,  and  the  pointed  form  so  timidly  used,  that  in  France  it 
would  certainly  be  said  that  there  was  a  mistake  of  at  least  a  century 
in  these  dates.  It  is  nevertheless  a  very  fine  church ;  and  its  four 
elegant  towers  flanking  the  two  apses  give  it  a  local  and  at  the  same 
time  a  dignified  character  which  we  often  miss  in  the  imitations  of 
French  churches,  too  common  at  this  age.  At  Naumberg  unfortunately 
only  three  towers  exist,  the  fourth  never  having  been  erected.  This 
considerably  mars  the  effect,  when  compared  with  the  more  complete 
edifice  at  Bamberg. 

Augsburg  is  another  example  of  this  class,  although  of  a  good  age, 
the  rebiiilding  having  commenced  136G.  It  is  one  of  the  ugliest  and 
worst-designed  buildings  in  Germany,  with  nothing  but  its  size  to 
redeem  it.  It  is  peculiar  in  having  a  chevet  at  one  end  and  an  apse  at 
the  other. 

St.  Sebald's  Church  at  Nuremberg  seems  originally  to  have  been  a 
chevet  turned  the  wrong  way,  to  the  eastern  end  of  which  a  choir  of 
somewhat  exag-gerated  dimensions  was  added  at  a  later  age  (1309-1377). 
This  choir  was  not  only  placed  unsymmetrically  as  regards  the  axis  of 
the  older  part,  but  also  as  regards  its  own  parts.  It  is  however  lofty 
and  airy,  and  being  lighted  by  a  single  row  of  tall  windows,  avoids 
the  defect  of  th«  two-storied  arrangement.  These  windows  are  50  ft. 
high,  and  barely  8  ft.  in  width,  which  is  far  too  narrow  in  proportion. 
Their  mullions  are  nearly  40  ft.  in  height ;  and  though  triumphs  of 
German,  masonic  skill,  are  most  unpleasing  features  of  architectural 
design. 

The  other  church  at  Nuremberg,  that  of  St.  Lawrence,  is  a  finer  and 
better  designed  church  than  St.  Sebald's,  and  about  one-third  larger. 
It  was  commenced  in  1275,  and  finished  after  202  years'  labour,  and 
shows  in  itself  all  the  beauties  and  defects  of  the  German  style,  where 
they  adopted  pointed  architecture,  and  used  it  according  to  their  own 
feelings  and  tastes,  instead  of  importing  a  French  cathedral  bodily,  as 
was  done  at  Cologne.  The  three  aisles  of  the  choir,  as  at  St.  Sebald's, 
are  of  one  height,  but  the  windows  of  two  stories,  and  those  of  the  poly- 
gonal part,  of  very  tolemble  form  and  tracery.  In  the  nave,  the  side 
aisles  are  subordinated  to  the  central  part ;  and  it  must  be  confessed 
that  the  expansion  of  the  chevet  towards  the  east  is  judicious,  though 
nnfortiinately  here  carried  to  exaggeration. 

Externally  the  western  fi-ont,  though  on  a  small  scale,  its  two  towers 
rising  to  the  height  of  250  ft.  only,  is  as  pleasing  and  pure  a  speci- 
men of  its  class  of  design  as  Germany  can  afford.  The  flanks  want  but- 
tresses and  pinnacles,  which,  though  not  required  in  the  round  Gothic 


Cnvr.  T. 


X  A  NTKX-  MAC  DEBUIIG . 


753 


613. 


style,  can  lie  l)iit  ill  (lisiicnscd  willi  in  pointed  architecture.  In  this 
instance  they  aie  ])artienlarly  needed,  as  the  bnildinti;  is  overwheliried, 
as  is  too  often  the  case  in  Germany,  by  an  enormously  high  ugly  roof. 

The  principles  of  the  French  schools  of  art  seem  to  have  prevailed 
to  a  much  greater  extent  in  the  north  of  Germany,  and  we  have  in 
consequence  several  churches  of  more  pleas- 
ing design  than  those  last  mentioned.  Among 
these  is  the  cathedial  at  Halberstadt,  a 
simple  but  beautiful  church,  not  remarkable 
for  any  very  striking  peculiarities,  but  ex- 
tremelv  satisfactory  in  general  effect.  The 
great  church,  too,  at  Xanten  may  be  quoted 
as  another  very  favourable  specimen,  though 
far  more  essentially  German  in  its  ai'range- 
ment.  The  western  front  is  older  than  the 
rest,  and  is  German,  wholly  withoiit  French 
influence.  It  has  no  central  entrance,  but 
two  bold  massive  towefs.  The  church  be- 
hind these  is  of  the  latter  part  of  the  13th 
and  the  14th  centuries.  It  is  generally  good 
in  detail  and  proportion,  but  arranged,  as 
seen  in  the  plan,  in  a  manner  wholly  differ- 
ent from  the  French  method,  though  common 
in  all  parts  of  Gemiany.  The  polygonal 
form  is  retained  both  for  the  apse  and  for  the 
chapels,  but  without  adopting  the  chevet 
with  its  surrounding  aisle,  nor  the  absolute  seclusion  of  the  choir  as  a 
priestly  island  round  which  the  laity  might  circulate,  but  witliin  whose 
sacred  precincts  they  were  not  permitted  to  enter.  It  is  observable 
that  in  those  districts  where  chevets  are  most  frequent,  generally 
speaking,  the  Catholic  religion  has  had  the  firmest  hold.  On  the  other 
I  land,  where  the  people  had  declined  to  adopt  that  arrangement,  it  was 
a  sign  that  they  were  ripe  for  the  Eeformation,  which  accordingly 
they  embraced  as  soon  as  the  standard  of  rebellion  was  raised. 

In  the  south  of  Germany  wo  have  already  had  occasion  to  remark 
on  the  tendency  to  raise  the  side  aisles  to  the  same  height  as  the 
central  one,  which  eventually  became  the  rule  in  the  great  brick 
churches  of  Munich  and  other  parts  of  Bavaria,  the  piers  or  pillars  be- 
coming mere  posts  supporting  what  was  practically  a  horizontal  I'oof. 
In  the  north  the  tendency  seems  to  have  been  the  other  way — to  ex- 
aggerate the  clerestory  at  the  expense  of  the  aisles.  A  notable  example 
of  this  is  foTind  in  the  nave  at  Magdebi;rg,  where  the  side  aisles  are 
practically  little  more  than  tme-third  of  the  whole  height  of  the  church  ; 
and  there  being  no  triforium,  the  clerestory  windows  rest  apparently 
on  the  vault  of  the  side  aisle.  This  has  now  no  doubt  a  disagreeable 
effect,  but  when  filled  with  painted  glass  the  case  must  have  been  dif- 
ferent, and  the  effect  of  this  immense  screen  of  brilliant  colours  nnist 
have  been  most  beautiful. 

A  better  example  of  this  arrangement  is  found  in  the  cathedral  at 

3  c 


Plan  of  Church  at  Xanten. 
Scale  100  ft.  to  1  in. 


754  POINTED  STYLE  IN  GEI^MANY.  Book  V. 

Metz,  where,  from  its  proximity  to  France,  the  details  are  better,  and 
the  whole  style  better  understood.  Externally,  it  must  be  confessed, 
the  immense  height  of  the  clerestory  gives  to  the  church  a  wire-drawn 
appearance,  very  destructive  of  architectural  beauty ;  but  internally, 
liartly  from  the  effect  of  perspective  and  partly  from  the  brilliancy  of 
such  glass  as  remains,  criticism  is  disarmed.  The  result,  however  con- 
trary to  the  rules  of  art,  is  most  fascinating  ;  and  at  all  events  it  is 
an  erroi-  in  a  for  more  pleasing  direction  than  that  of  the  southern 
architects. 

Among  the  larger  fragments  of  churches  found  in  Germany,  two  in 
Bohemia  deserve  particular  attention — one,  St.  Veit  at  Prague,  pro- 
jected in  1346,  in  imitation  of  the  cathedral  at  Cologne,  and  intended 
almost  to  rival  it  in  extent.  It  remains,  however,  like  its  great 
prototype,  a  choir  with  an  unfinished  ti'ansept,  but  less  fortunate  in 
being  without  any  apparent  chance  of  ever  being  completed.  As  might 
be  expected  from  its  age,  it  is  less  pure  in  style,  but  still  a  very  noble 
design.  The  other,  the  church  at  Kuttenberg,  commenced  iii  1330,  is 
simpler  in  outline  and  better  in  proportion,  thoiigh  not  quite  so  large. 
Had  it  been  completed,  it  would  have  been  surpassed  by  few  churches 
in  Germany.  It  too,  however,  is  only  a  choir — a  mere  fragment  of  a 
noble  but  too  ambitious  design. 

These  may  perhaps  be  considered  the  great  and  typical  examples 
of  the  pointed  style  as  applied  to  church  architecture  in  Germany ; 
but  besides  these  there  are  numerous  examples  scattered  all  over  the 
country,  many  of  which,  as  less  directly  under  French  influence,  dis- 
play an  originality  of  design,  and  sometimes  a  beauty,  not  to  be  found 
in  the  larger  examples. 

Among  these  is  the  church  at  Limbui-g  on  the  Lahn.  This  build- 
ing belongs  to  the  early  part  of  the  13th  century,  and  exhibits  the 
transitional  style  in  its  greatest  purity,  and  with  less  admixture  of 
foreign  taste  than  is  to  be  found  in  almost  any  subsecpient  examples. 
Though  measuring  only  about  180  ft.  by  75,  it  has,  from  its  crown  of 
towers  and  general  design,  a  more  imposing  appearance  externally 
than  many  buildings  of  far  larger  dimensions.  The  interior  is  also 
singularly  impressive. 

The  church  of  St.  Emeran  at  Ratisbon,  a  square  building  of  about 
the  same  age  and  style,  is  chiofl}'  remarkable  for  the  extensive  series 
of  galleries  which  surround  the  whole  of  the  interior,  being  in  fact 
the  application  of  the  system  of  double  chapels  (see  p.  586)  to  a  paiish 
church  ;  not  that  vaulted  galleries  aie  at  all  rare  in  Germany,  but 
generally  speaking  they  are  insertions  ;  here  they  seem  part  of  the 
original  design. 

At  Schulporta  in  Saxony  there  is  a  very  elegant  church  of  the  best 
age,  and  both  in  design  and  detail  very  different  from  anything  else 
in  Germany.  Its  immense  relative  length  gives  it  a  perspective  rarely 
found  in  this  country,  where  squareness  is  a  much  more  common 
characteristic. 

At  Oppenheim  is  a  church  the  choir  of  which  is  a  simple  and 
pleasing  German  a|)se  with  elongated  windows.     The  nave,  four  bays 


Chap.  T. 


CHUKCII  AT  MIJIILIJAUSEN. 


755 


in  length,  is  an  elaborate  specimen  of  GeiTnan  ornamentation  in  its 

utmost    extravagance,    and,    considering    its 

age,  in  singularly  bad  taste,  at  least  the  lower 

part.     The  clerestory  is  unobjectionable,  but 

the  traceiy  of  the  windows  and  walls  of  the 

side  aisles  shows  how  ingeniousl}-  it  was  pos- 

!-;ible   to  niisappl}'  even  the  beautiful  details 

<if  the  early  part  of  the  14th  centuiy.      At 

W'ei-ner's  Chapel,  Bacharach,  on  tlic  lihine, 


this  is  avoided,  and,  as  far  as  can  be  judged    j^^ 
from  the  fragment  that  remains,  it  must,  if  it     I ' 
OA-er  was  completed,  have  been  one  of  the  best     f ! .\ 
^pecimens  of  Gei'man  art  in  that  part  of  the    ^i  , 
country.  The  nave  of  the  cathedral  at  Meissen,    K: 
ihdugli    marked   by   many  of  the   fixults    of    C| 
German  design,  is  still  a  l;)eauliful   example 
of  well-understood  detail. 

As  a  purely  German  design  nothing  can 
surpass  the  Maria  Kirehe  at  Muhlhausen 
(woodcut  No.  614).  The  nave  is  nearly  scpiare, 
87  ft.  and  105,  and  divided  into  5  aisles  by  4 
rows  of  pilla]"s  su])poiting  ihe  vaults,  all  at  the  same  Irve], 


'\  N  i! 


■-    r,i, 


614.    Maria  Kirehe  at  MiihllinubcM. 
Scale  100  ft.  to  1  in. 


Tt 


tl 


JO 


«15. 


View  uf  Maria  ivircUe  ul  .iiuiilliuuoun.     1  luiii  I'ultricli,  IX-iikiiiiiler. 


3  c  2 


T')*) 


I'OINTED  RTYT.E  IN  GERMANY. 


Book  Y. 


west  is  a  triple  frc^ntispiecc,  and  to  the  east  (woodcut  No.  61.5)  the 
three  apses,  which  form  so  favourite  an  arrangement  with  the  Germans. 
Externally  its  attenuation  is  painful  to  one  accustomed  to  the  soberer 

work  of  French  archi- 
tects ;  but  this  fault  is 
not  here  carried  to  any- 
thing like  the  excess 
found  in  other  churches. 
Internally  the  effect 
is  certainh-  pleasing, 
and  altogether  there  are 
perhaps  few  better  spe- 
cimens of  purely  Ger- 
man desigii  in  pointed 
architecture.  The 

church  of  8t.  Blasius, 
in  the  same  town,  is  far 
from  being  so  good  an 
example  of  the  style. 

The  cathedral  at  Er- 
furth  is  a  highly  orna- 
mented building,  but, 
though  possessing  beau- 
tiful details  in  parts, 
yet  shows  the  slen- 
deniess  of  construction 
which  is  so  frequent  a 
fixult  in  German  Gothic 
buildings.  The  church 
of  St.  ScA'erus  in  the 
same  town  resembles 
that  at  Muhlhausen, 
but  possesses  so  cha- 
racteristic a  group  of 
three  spires'  over  wliat 
we  would  consider  the 
transept  —  or  just  in 
front  of  the  apse  — 
that  it  is  illustrated 
(woodcut  No.  616). 
It  certainly  looks  like 
a  direct  lineal  descend- 
ant from  the  old  Eo- 
Thougli  common  in 
I    do  not    know 


616.     St.  Severus  Cluirdi  ut  Kitunh.     rinui  I'liilriili,  rk'nkmiiler. 


man  basilican  apse  grown  into  Gothic  tallness. 
Germany,  placed  either   here  or  at  the   west   front 


'  The  ra9;Kk'  designed  for  the  cithedral  at 
Louvain  (mentioned  at  page  72.5)  was  iden- 
tical with  this  group  of  spires   in  anange- 


ment,   though   on   a   much  larger  scale,  ami 
infinitely  richer  in  ornament 


Chap.  I.  SPIRES.  757 

of  any  single  examplo  uf  such  au  airangeiiiout  either  iu  France  or 
England. 

To  the  same  class  of  square  churches  with  slightly  projecting  chan- 
cels belongs  the  Frauen  Kirche  at  Nuremberg,  one  of  the  most  oiTiate 
of  its  kind,  and  ])ossessing  also  in  its  triangularly  formed  porch  another 
peculiarity  found  only  in  Germany.  The  principal  entrances  to  the 
cathedrals  of  Ratisbon  and  Erfurth  are  of  this  description — the  latter 
being  the  richest  and  boldest  porch  of  the  kind. 

One  of  the  best  known  examples  of  the  daring  degree  of  attenuation 
to  which  the  Germans  delighted  to  carry  their  works  is  the  choir 
(woodcut  No.  433)  added  in  1353  and  1413  to  the  old  circular  church 
of  Charlemagne  at  Aix-la-Chapelle.  As  we  now  see  it,  the  effect  is 
certainly  luiplcasing ;  but  if  these  tall  windows  were  filled  with  painted 
glass,  and  the  walls  and  vault  coloured  also,  the  effect  would  be  widely 
different.  Perhaps  it  might  then  be  even  called  beautiful ;  but  with 
scarcely  a  single  exception  all  those  churches  are  now  deprived  of  this 
most  indispensable  part  of  their  architecture,  and,  instead  of  being  the 
principal  part  of  the  design,  the  windows  are  now  only  long  slits  in 
the  masonry,  giving  an  appearance  of  weakness  without  adding  to  the 
beauty  or  richness  of  the  ornament. 

The  same  remarks  apply  to  the  Nicholai  Kirche  at  Zerbst,  and  the 
Petri  Kirche  at  Gorlitz,  both  splendid  late  specimens  of  this  exagge- 
rated class  of  German  art.  By  colour  they  might  be  restored,  but  as 
seen  now  in  the  full  glare  of  the  cold  daylight  they  want  almost  every 
requisite  of  true  art,  and  neither  their  size  nor  their  constructive  skill 
suffices  to  redeem  them  from  the  reproach. 

Spires. 

Except  the  open-work  spires  above  described,  and  the  others  men- 
tioned in  the  preceding  pages,  those  of  Germany  are  not,  as  a  general 
rule,  remarkable  either  for  their  beauty  or  their  elevation.  There  is 
one  at  Landshut,  however,  that  is  an  exception  to  this  remark,  being 
425  ft.  in  height,  principally  constmcted  of  brick,  of  very  graceful 
outline,  though  composed  of  too  many  parts  and  divided  into  too  many 
stories  to  possess  all  the  requisites  of  a  good  spire.  That  attached  to 
the  cathedral  at  Frankfort  has  also  been  miich  admired,  but  though 
some  of  its  details  are  certainly  good,  it  by  no  means  merits  the  piaise 
that  has  been  bestowed  upon  it. 


r58 


POINTED  STYLE  IN  GERMANY. 


Book  V. 


CHAPTER    11. 

CONTENTS. 
Circular  Churches  —  Church  Furniture  —  Civil  Architecture. 


Circular  Churches. 


tlieir  old  favourite  circxilai'  form 


In  iiddpting  the  pointed  style,  the  Germans  almost  wholly  abandoned 

the  Liebfrauen  church  at  Treves, 
quoted  above,  p.  570,  being  almost 
tile  only  really  impor-tant  example 
of  a  church  in  this  style  ap- 
proaching to  a  rotunda.  Chapter- 
houses are  as  rare  in  Germany  as 
in  France,  and  those  that  are 
tuund  are  not  generally  circular 
in  either  coiuitry.  There  is  a 
baptistery  attached  to  the  cathe- 
dral at  Meissen,  and  one  or  two 
other  insignificant  examples  else- 
where ;  but  the  most  pleasing- 
object  of  this  class  is  the  Anna 
chapel,  attached  to  the  principal 
cliurch  at  Ileiligenstadt.  It  is 
said  that  it  always  was  dedicated 
to  the  sainted  niother  of  the  Vir- 
gin, but  it  would  require  more 
than  tradition  to  prove  that  it 
Avas  not  originally  designed  as  a 
baptistery  or  a  tomb-liouse.  Be 
this  as  it  may,  it  is  one  of  the 
most  pleasing  specimens  of  its 
class  anywhere  to  be  fomid,  and 
so  elegant  as  to  make  us  regret 
the  rarity  of  such  stmctures. 


Church  Furniture. 


617. 


Anna  Chapel  at  Heiligenstadt.     From 
Puttrich,  Denkmiiler. 


The  churches  of  Germany  are 
not  generally  rich  in  architectural 
furniture.  Few  rood-lofts  are  found  spanning  from  pillar  to  pillar  of 
the  choir  like  that  at  the  Madelaine  of  Troyes  (woodcut  No.  584) ; 
and  though  some  of  the  screens  that  separate  the  choirs  of  the  churclies 
are  rich,  they  are  seldom  of  good  design.  The  two  at  Naumberg  are 
perhaps  as  good  as  any  of  tlicii-  class  in  Germany.      Generally  tliev 


I 


Chap.  IT. 


CHUKOH  FURNITURE. 


^59 


were  iised  as  the  /ectorwm— virtually  the  pulpit— of  the  churches.  In 
most  instances,  however,  the  detached  pulpit  in  the  nave  was  substi- 
tuted for  these,  and  there  are  numerous  examples  of  richly-carved 
pulpits,  but  none  of  beautiful  design.  Generally  they  are  oveiioaded 
with  ornament,  and  many  of  them  disfigured  with  quirks  and  quibbles, 
and  all  the  vagaries  of  later  German  art. 

The  fonts  are  seldom  good  or  deserving  of 
attention,  and  the  original  altars  have  almost 
all  been  removed,  either  from  having  fallen  to 
decay,  or  to  make  way  for  some  more  favourite 
arrangement  of  modern  times. 

The  "Sacraments  Hanslein"  (the  receptacle 
for  the  sacred  elements  of  the  communion)  is  a 
peculiar  article  of  furniture  frequently  found  in 
German  churches,  and  in  some  of  those  of  Bel- 
gium, though  very  rare  in  France  and  unknown 
in  England,  but  on  wliich  the  German  artists 
seem  to  have  lavished  more  pains  than  on 
almost  any  other  article  of  church  decoration. 
Those  in  St.  Lawrence's  church  at  Nurem- 
berg and  at  Ulm  are  perhaps  the  most  ex- 
traordinary pieces  of  elaborate  architecture 
ever  executed  in  stone,  and  have  always  been 
looked  on  by  the  Germans  as  chefs-d'oeuvre  of 
art.  Had  they  been  able,  they  would  have 
delighted  in  introducing  the  same  extrava- 
gances into  external  art :  fortunately  the  ele- 
ments forced  them  to  confine  them  to  their 
interiors.  Nothing,  however,  can  show  more 
clearly  what  was  the  tendency  of  their  art,  and 
to  what  they  aspired,  than  these  singular  erec- 
tions, which,  notwithstanding  their  absurdity, 
considering  their  materials,  must  excite  our 
wonder,  like  the  concentric  balls  of  the 
Chinese.  To  some  extent  also  they  claim  our 
admiration  for  the  lightness  and  the  elegance 
of  their  structure.  Simplicity  is  not  the  cha- 
racteristic of  the  Gei-man  mind.  A  difficulty 
conquered  is  what  it  glories  in,  and  patient 
toil  is  not  a  means  only,  but  an  end,  and  its 

expression  often  excites  in  Germany  more  admiration  than  either  loftier 
or  purer  art. 

It  can  scarcely  be  doubted  but  that  much  of  the  extravagance 
which  we  find  in  later  German  architecture  arose  from  the  reaction  of 
the  glass-painters  on  the  builders.  When  first  painted  glass  was  ex- 
tensively introduced,  the  figures  were  grouped  or  separated  by  archi- 
tectural details,  such  as  niches  or  canopies,  copied  literally  from  the 
stone  ornaments  of  the  building  itself.  Before  long,  however,  the 
painter,  in  Germany  at  least,  spurned  at  being  tied  down  to  copy  such 


Clx.    Sacraments  Haiislrin  at  Nu- 
remberg.    From  Chapuy. 


vOU 


rUiXTKD  fiTYLE  IN  CiKKMAKV. 


EcoK  A'. 


muehaiiical  aiul  constiuctivc  exigencies;  he  attenuated  his  culiiimis, 
bent  and  twisted  liis  pinnacles,  drew  ont  his  canopies,  and  soon  in- 
vented for  himself  an  architecture  hearing  the  same  relation  to  the 
stone  Gothic  around  him  that  the  architeetuie  shown  on  the  paintings 
of  Pompeii  bears  to  the  temples  and  buildings  frsim  which  it  is  de- 
rived. In  Genuan}',  painters  and  builders  alike  were  striving  after 
lightness,  but  in  this  the  painter  w-as  enabled  by  his  material  easily 
to  outstrip  the  mason.  The  essentially  stone  character  of  architecture 
was  soon  lost  sight  of.  \\  ith  the  painter  the  finials,  the  ci'ockets, 
and  the  foliage  of  the  capitals  again  became  copies  of  leaves  instead 
of  the  con\cntional  rej^; e^eiitations  of  nature  which  tliey  are  and  must 
be  in  all  true  art.  Like  Sir  James  Hall  in  modem  times,  the  specu- 
lative mind  in  Germany  was  not  long,  when  advanced  thus  far,  in 
suggesting  a  vegetable  theory  for  the  whole  art.  All  these  steps  are 
easily  to  be  traced  in  the  sequence  of  German  painted  glass  still 
preserved  to  us.  The  more  extravagant  and  intricate  the  design,  the 
more  it  was  admired  by  the  Germans.  It  w-as  therefore  onl}'  natural 
that  the  masons  should  strive  after  the  same  standard,  and  should  try 
to  realise  in  stone  the  ideas  which  the  painters  had  so  successfully' 
started  on  the  plain  suiface  of  the  glass.  The  difficulty  of  the  task 
was  an  incentive.  Almost  all  the  absurdities  of  the  later  styles  may 
be  traced  more  or  less  to  this  source,  and  were  it  worth  while,  or  weic 


Doorway  of  Church  at  Chemnitz 


CiiAi'.  II.  CIVIL  AlU'lHTFATrUIJE.  761 

this  tlio  place,  it  would  bo  easy  to  trace  the  gradual  decay  of  tnie  art 
from  this  cause.  One  example  must  suffice,  taken  from  a  church  at 
Chemnitz  (woodcut  No.  019),  where  what  was  usual,  perhaps  ad- 
missible, in  glass,  is  represented  on  stone  as  literally  as  is  conceivable. 
When  art  came  to  this,  its  revival  was  impossible  among  a  people  with 
whom  such  absurdities  could  be  admired,  as  their  frequency  proves 
them  to  have  been.  What  a  fall  does  all  this  show  in  that  people  who 
invented  the  old  Roimd-Gothic  style  of  the  Khenish  and  Lombard 
churches,  which  still  excite  our  admiration  as  much  from  the  simple 
majesty  of  their  details  as  from  the  imposing  grandeur  of  the  mass ! 

Civil  Architecture. 

If  the  Gei-mans  failed  in  adapting  the  pointed  style  of  architecture 
to  the  simple  forms  and  purposes  of  ecclesiastical  buildings,  they  were 
still  less  likely  to  be  successful  when  dealing  with  the  more  compli- 
cated arrangements  of  civil  buildings.  It  seldom  is  difficult  to  impart  a 
certain  amount  of  architectural  character  and  magnificence  to  a  single 
hall,  especially  when  the  dimensions  are  considerable,  the  materials 
good,  and  a  certain  amount  of  decoration  admitted ;  but  in  grouping- 
together  as  a  whole  a  number  of  small  apartments,  to  be  applied  to 
various  uses,  it  requires  great  judgment  to  enable  every  part  to  express 
its  own  puqjose,  and  good  taste  to  prevent  the  whole  degenerating 
merely  into  a  collection  of  disjointed  fragments.  These  qualities  the 
Germans  of  that  age  did  not  possess,  besides  which  there  seems  to  have 
been  singiilarly  little  demand  for  civil  edifices  in  the  13th  and  1-ith 
centuries.  It  is  probable  that  the  free  cities  were  not  organised  to  the 
same  extent  as  in  Belgium,  or  had  not  the  same  amount  of  manufac- 
turing industry  that  gave  rise  to  the  erection  of  the  great  halls  in  that 
country,  for  with  the  exception  of  the  Kauf  Haus  at  Mayence,  no 
example  has  come  down  to  our  days  that  can  be  said  to  be  remarkable 
for  architectural  design.  Even  this  no  longer  exists,  having  been 
pulled  down  in  1812.  It  was  but  a  small  building,  135  ft.  in  length  by 
92  in  width  at  one  end,  and  75  at  the  other.  It  was  built  in  the  best 
time  of  German  pointed  architecture,  and  was  a  pleasing  specimen  of  its 
class.  At  Cologne  there  is  a  sort  of  Guildhall,  the  Gurzenich,  and  a 
tower-like  fragment  of  a  town-hall,  both  built  in  the  best  age  of  archi- 
tecture ;  and  in  some  of  the  other  Rhenish  towns  there  are  fragments  of 
art  more  or  less  beautiful  according  to  the  age  of  their  details,  but  none 
that  will  bear  comparison  with  the  Belgian  edifices  of  the  same  class. 

The  only  really  important  palace  of  this  style  is  the  Schloss  Ma- 
rienbiirg  in  Prussia,  which,  though  of  the  best  age  (1309),  and  exten- 
sively and  richly  ornamented,  is  one  of  the  worst  specimens  of  this 
class  of  buildings,  and  as  bad  a  piece  of  architecture  as  Germany  pos- 
sesses. Some  of  the  castles  in  which  the  feudal  aristocracy  of  the 
day  resided  are  certainly  fine  and  picturesque  buihlings,  but  seldom 
remarkable  for  architectural  beauty  either  of  design  or  detail.  The 
same  remai'ks  apply  to  the  domestic  residences.  Many  of  the  old  high 
gabled  houses  in  the  streets  are  most  elaborately  ornamented,  and  pro- 


702 


POINl'Kl)  S'J'YLE  IN  GERMANY. 


Book  V. 


diicc  picturesque  combinations  in  themselves  and  with  one  another ; 
but  as  works  of  art  few  liave  any  claim  to  notice,  and  neither  in  form 
nor  detail  arc  they  worthy  of  admii'ution. 

Among  more  miscellaneous  monuments  may  be  named  the  weigh 

tower  at  Andenaach, 
with  its  immense 
crane,  showing  how 
any  object  may  be 
made  architectural  if 
designed  with  taste. 
The  Schone  Brun- 
nen,  or  "Beautiful 
Fountains,"  in  the 
market-place  at  Nu- 
remberg, is  one  of 
the  most  unexcep- 
tionable pieces  of 
German  design  in 
existence.  It  much 
resembles  the  con- 
temporary crosses 
erected  by  onr  Ed- 
ward I.  to  the  me- 
mory of  his  beloved 
queen  Eleanor,  but 
it  is  larger  and  taller, 
the  sculpture  better, 
and  better  disposed, 
and  the  whole  de- 
sign perhaps  unri- 
valled among  monu- 
ments of  its  class. 
The  lightness  of  the 
upper  part  and  the 
breadth  of  the  basin 
at  its  base  give  an  ap- 
pearance of  stability 
which  greatly  contri- 
butes to  its  eifect. 

In  the  same  town 
of  Nuremberg  are 
several  houses  pre- 
senting very  elegant 
specimens  of  art  in 
their  details,  though  few  that  now  at  least  afford  examples  of  complete 
designs  worthy  of  attention.  The  two  parsonages  or  residences  attached 
to  the  churches  of  St.  Sebald  and  St.  Laurence  are  among  the  best. 
The  bay  window  (woodcut  No.  021)  from  the  facade  of  the  former  is  as 
pleasing  a  feature  as  is  to  be  found  of  its  class  in  any  part  of  Gemiany. 


620. 


Schijne  Brunnen  at  Nuremberg.    From  Chapuy. 


Chap.  H. 


CIVIL  ARCIIITECTUKE. 


f63 


In  all  countries  the  specimens  of  domestic  art  are,  from  obvious 
causes,  more  liable  to  alteration  and  destriiction  than  works  of  a  more 
monnmcntal  class.  Making  every  allowance  for  this,  still  Germany 
seems  more  deficient  than  the  neighbouring  countries  in  domestic 
architecture  in  the  pointed  style,  and  one  can  hardly  avoid  the  con- 
viction that  this  form  was  never  thoroughly  adopted  by  the  people  of 
this  country,  and  it  consequently  never  had  much  loold  on  their  feel- 
ings or  taste,  and  died  out  early,  leaving  only  some  wonderful  speci- 
mens of  masonic  skill  in  the  more  monumental  buildings,  but  very 
few  evidences  of  true  art  or  of  sound  knowledge  of  the  true  prin- 
ci[»les  of  architectural  efiect. 


621. 


13;iy  VViuilow  from  St.  Scbald,  N  uromljd  g. 


[G4 


ITALIAN  AKCIUTKCTUKE. 


Book  VI. 


BOOK  VI, 

ITALY. 


CHAPTER   I. 


CONTENTS. 

Aiiiiilgamatiou  of  styles  —  Geographical  limits  —  Church  at  Vercelli  —  Asti 
Padua  —  Cathedral  of  Sienna  —  Florence  —  Domes  —  St.  Petronio,  Bologna 
Milan  Cathedral  —  Duonio  at  Ferrara. 


CHRONOLOGY. 


DATES. 

Bologna  indepeiKlent a. b.  1112 

Countess  MatiliUi  al  Florence 1115 

Ziani  elected  Doge  of  Venice 1173 

Obizzo  d'Este  at  Ferrara 1184 

Enrico  Dandolo  takes  Constantinople      .     .  1203 

War  between  Genoa  and  Venice  ....  1205 

Azzo  d'Este  at  Ferrara 1208 

Martino  della  Scala  at  Verona 1269 


DATES. 

Martino  delle  Torre  at  Milan  .     .     .        a.d.  1260 

Visconti  Lord  of  Milan 1277 

Taddeo  de  I'epuli  at  Bologna 1334 

Conspiracy  of  Marino  Faliero 1355 

Giaii  Galeazzo  Visconti  Duke  of  Milan    .     .  1395 

Verona  ceded  to  Venice 1409 

Cosmo  de'  Medici 1434 


Pointed  Architecture  in  Italy. 


The  history  of  the  pointed  style  in  Italy  is  even  less  instnictive  than 
that  of  tlie  same  art  in  Germany.  Indeed,  if  regarded  only  in  an 
artistic  point  of  view,  it  is  perhaps  the  least  interesting  chapter  in  the 
history  of  the  architecture  of  the  middle  ages.  Its  importance  con- 
sists in  the  evidence,  imprinted  on  the  buildings  of  the  country,  of 
the  extent  to  which  the  influence  of  the  Northern  races  with  their 
feudal  system  was  felt  here,  of  the  duration  of  that  influence,  and  the 
degree  in  which  it  was  modified  by  the  Italian  element  which  lay 
beneath.  All  this  can  be  read  at  a  glance  in  the  architecture  of  the 
age,  and  nowhere  is  it  depicted  with  the  same  clearness  and  fixed  so 
unalterably  and  indelibly  as  it  is  in  Italy. 

To  the  mere  student  of  architecture,  too,  it  is  interesting  to  trace 
at  what  points  it  failed  to  equal  the  contemporary  styles  on  this  side 
of  the  Alps,  and  from  what  causes,  thus  revealing  to  us  the  secrets  of 
the  success  of  the  French  architects,  which,  without  this  test,  it 
might  be  difficult  to  detect.  In  Italy  we  find  buildings  scarcely  sur- 
passed in  size  by  any  others  in  Europe.  The  best  possible  construc- 
tion is  combined  with  the  most  beautiful  material.     The  vaulted  roofs 


Chap.  I.  POINTED  AKClllTECTURE  IN  ITAI^Y.  7G5 

arc  of  the  most  daring  construction,  supported  by  coupled  piers ;  and 
the  pointed  arch,  on  which  so  much  stress  is  usually  laid,  is  used 
currently  in  ever}-  part ;  and  yet  with  all  this,  these  buildings  are  only 
cold,  unmeaning,  inartistic  productions,  with  all  the  defects  and 
hardly  one  of  the  beauties  of  the  true  pointed  Gothic  ediiices.  This 
l)eiug  so,  it  cannot  be  difficult  to  find  out  to  what  the  one  style  owes 
its  perfection,  and  Avhat  was  the  cause  of  want  of  success  in  the 
other. 

One  great  cause  of  this  seems  to  lie  deep  in  the  character  of  the 
people.  It  is  to  be  observed  that,  however  excellent  in  other  depart- 
ments of  art,  no  Italians  were  ever  great  architects.  The  Etruscans, 
as  we  have  seen,  were  not  extensive  builders,  though  what  they  did 
the}^  seem  to  have  done  well.  The  Eomans  borrowed  a  style  from 
the  Greeks,  Avhich  they  never  understood,  and  which  they  misused, 
misapplied,  and  spoilt.  The  Lombards  were  Germanic  foreigners  in 
the  land,  and  great  and  original  as  builders  only  so  long  as  they 
retained  their  nationality.  Ko  sooner  did  their  distinct  character  die 
out  and  the  indigenous  race  resume  its  sway,  than  their  architecture 
decayed ;  they  adopted  the  then  fashionable  style  of  France  and  Ger- 
many, but  adopted  it  late,  without  comprehending  its  principles. 
Dissatisfied  with  their  own  productions,  the  Italians  quickly  abandoned 
it,  and  returned  to  the  old  classical  style.  This  last  change  seems  to 
have  been  made  far  more  from  associations  with  the  name  of  Eome, 
which  alone  rendered  them  and  their  j^eninsula  illustrious,  than  fi'om 
any  distinct  perception  either  of  the  beauty  of  the  style  itself  or  of 
its  fitness  for  their  purposes.  Unfortunately  for  Europe,  the  revival 
of  classical  literature  at  the  same  time  led  the  Northern  nations  tt) 
follow  in  the  same  vicious  path,  and  to  cover  the  land  with  all  the 
absurdities  of  the  revived  classical  school. 

Among  the  material  causes  that  aided  this  natural  disposition 
or  defect  in  the  minds  of  the  people,  one  of  the  principal  was  their 
dislike  to,  or  inaptitude  for  appreciating  the  beauties  of  stained 
glass. 

In  a  previous  chapter  it  has  been  attempted  to  explain  how  all- 
important  this  was  to  the  elaboration  of  the  Gothic  style.  But  for  its 
introduction,  the  architecture  of  France  would  bear  no  resemblance 
to  what  we  there  find.  In  Italy,  though  the  people  loved  poly- 
chromy,  it  was  always  of  the  opaque  class.  They  delighted  to  cover 
the  walls  of  their  churches  with  frescoes  or  mosaics,  to  enrich  their 
floors  with  the  most  gorgeous  pavements,  and  to  scatter  golden  stars 
on  a  blue  ground  over  their  vaults  ;  but  rarely,  if  ever,  did  they  fill, 
or  design  to  fill,  their  windows  with  painted  glass.  Perhaps  the  glare 
of  an  Italian  sun  may  have  tended  to  render  its  brilliancy  intolerable. 
More  probably  the  absence  of  stained  glass  in  Italy  is  owing  to  its  in- 
compatibility with  fresco-i)ainting,  the  effect  of  which  would  be  entirely 
destroyed  by  the  superior  brightness  of  the  tiansparcnt  material.  The 
Italians  were  not  pi'cpared  to  relinquish  the  old  and  favourite  mode  of 
decoration  in  which  they  excelled.  This  adherence  to  the  old  method 
of  ornamenting  churches  enabled  them,  in  the  ir)th  and  10th  centuries, 


766  POINTED  STYLE  IN  TTAI,Y.  P.ook  VI. 

to  surpass  all  the  world  in  the  art  of  painting,  bnt  was  fatal  to  the 
proper  appreciation  of  the  pointed  style,  and  to  its  successful  intro- 
duction into  the  land. 

The  first  eifect  of  this  was  that  the  wdndows  in  Italian  churches 
were  all  small,  and  devoid  of  tracery  with  all  its  beautiful  accompani- 
ments. The  walls,  too,  were  consequently  solid,  and  quite  sufficient, 
by  their  own  weight,  to  abut  the  thrust  of  the  arches :  so  that  neither 
projecting  or  tlyiug  buttresses  nor  pinnacles  were  needed.  The  build- 
ings were  thus  deprived  externally  of  all  the  aspiring  vertical  lines  so 
characteristic  of  the  true  Gothic.  The  architects,  to  relieve  the  mo- 
notony arising  fi-om  the  want  of  these  features,  were  forced  to  recur  to 
the  horizontal  cornices  of  the  classical  times,  and  to  cover  their  walls 
with  a  series  of  pannelling,  which,  however  beautiful  in  itself,  is  both 
unmeaning  and  inconsistent. 

Intenialh',  too,  having  no  clerestory  to  make  room  for,  and  no  con- 
structive necessities  to  provide  for,  they  jumped  to  the  conclusion  that 
the  best  design  is  that  which  covers  the  greatest  space  with  the  least 
expenditure  of  materials,  and  with  the  least  encumbrance  of  the  floor. 
With  builders  this  is  the  golden  nile,  but  with  architects  it  is  about 
the  worst  that  can  possibly  be  adopted.  The  Germans  were  not  free 
from  this  fault,  but  the  Italians  carried  it  still  further.  If  on  four 
or  five  piers  they  could  support  the  vault  of  a  whole  nave,  the}^  never 
dreamed  of  introdiicing  more.  A  French  architect  in  the  same  space, 
though  probably  superior  in  constructive  skill,  would  have  introduced 
eight  or  ten.  An  Italian  would  carrj^  the  vaults  of  the  side  aisles  to 
the  same  height  as  that  of  the  nave,  if  he  coidd.  A  Xoi-thern  architect 
knew  how  to  keep  the  two  in  due  proportion  to  one  another,  whereby 
he  obtained  greater  height  and  greater  width  in  the  same  bulk,  and  an 
appearance  of  height  and  width  greater  still,  by  the  contrast  between 
the  parts.  He  gave  to  the  building,  moreover,  a  character  of  strength 
and  stability  perhaps  even  more  valuable  than  that  of  size. 

In  the  same  manner  the  Korthern  architects,  while  they  grouped 
shafts  together,  kept  them  perfectly  distinct,  so  as  to  allow  every  one 
to  bear  its  proportional  part  of  the  load,  and  perform  its  allotted  task. 
The  Italians  never  comprehended  this  principle,  but  merely  stuck 
pilasters  back  to  back,  in  imitation  of  the  true  architects,  producing 
an  unmeaning  and  ugly  pier.  The  same  incongruity  occurs  in  every 
part  and  in  every  detail.  It  is  a  style  copied  Avithout  xmderstanding, 
and  executed  without  feeling.  The  beauty  of  the  sculptured  foliage 
and  the  elegance  of  the  details  sometimes  go  far  to  redeem  these  faults. 
The  Italians,  though  bad  architects,  were  always  beautiful  cai'vers,  and 
as  a  Southern  people,  were  free  from  the  vulgarities  sometimes  apparent 
farther  North.  They  never  fell  into  the  wild  barbarisms  that  some- 
times disfigure  even  the  best  buildings  on  this  side  of  the  Alps.  \\  hen 
painting  is  joined  to  sculpture,  the  architecture  may  escape  censure, 
owing  to  the  subordinate  position  it  then  occupies.  I'nfortunately 
there  are  only  two  churches  of  any  importance  in  this  style  that  retain 
all  their  painted  decorations — the  chui'ch  at  Assisi,  and  the  Certosa 
near  Pavia.    From  this  circumstance  they  are  perhaps  the  most  admired 


CiiAr.  I. 


CllUllClI  AT  VERCELLI. 


'07 


in  Italy.  In  others  the  plain  blank  spaces  left  for  colonr  are  still 
plain  and  void.  We  see  the  work  of  the  architect  nnaided  by  the 
painting  which  was  intended  to  i^et  it  off,  and  wo  cannot  but  condemn 
it  as  displaying  at  once  bad  taste  and  ignorance  of  the  tnie  Gothic  style. 

The  geographical  limits  of  the  Italian  Gothic  style  are  easily  de- 
fined, but  before  doing  so  it  is  necessary  to  state  that  there  ai-e  in  Italy 
two  totally  distinct  classes  of  pointed  architecture.  The  first,  intro- 
duced from  Sicily,  a  direct  descendant  of  the  Saracenic  and  Byzantine 
styles,  and  wholly  unconnected  with  either  the  French  or  German. 
Tliis  arose  in  the  11th  century,  and  will  form  the  theme  of  the  next 
chapter.  It  perished  almost  entirely  about  the  time  that  the  other 
penetrated  across  the  Alps. 

The  Northern  style,  imported  in  the  beginning  of  the  13th  century, 
exactly  corresponded  with  the  limits  attained  by  the  German  race  to 
which  it  belongs.  Wherever  they  settled  in  sufficient  numbers  to  in- 
fluence the  population,  there  it  is  found ;  and  in  the  exact  ratio  in 
which  German  blood  is  known  to  exist  in  a  particular  locality,  does  the 
pointed  style  prevail.  It  is  thus  found  all  over  Lombardy  and  the 
valley  of  the  Po.  It  extends  down  the  centre  of  Italy  to  Sienna  and 
Orvieto.  It  prevailed  at  one  time  at  Floi-ence  and  in  Bologna ;  but 
nowhere,  except  in  Venice  and  Genoa,  extended  to  the  coasts.  The 
shores  of  Italy  were  so  thickly  peopled  before  the  arrival  of  the  bar- 
barians that  those  districts  were  never  permanently  affected  by  them. 
In  Eome  the  Gothic  style  is  found  timidly  displaying  itself  in  one 
church — the  Sta.  Maria  sopra  Minerva — of  the  16th  century,  but  it 
took  no  root  in  so  Italian  a  city.  It  probably,  however,  exists  at  Bene- 
vento,  and  may  also  be  foimd  in  some  of 
the  smaller  towns ;  but  to  the  north  of 
Pavia  only  did  it  attain  considerable  pro- 
minence. 

One  of  the  earliest,  or  perhaps  the  very  r,Y\ 
first  Italian  edifice  into  which  the  pointed 
arch  was  introduced,  is  the  fine  church  of 
St.  Andrea  at  Vercelli,  commenced  in  the 
year  1219  by  the  Cardinal  Guala  Bicchi- 
eri,  and  finished  in  three  yeai-s.  This  pre- 
late, having  been  long  legate  in  England, 
l)rought  l)a(;k  with  him  an  English  archi- 
tect called,  it  is  said,  Brigwithe,  and  en- 
trusted him  with  the  erection  of  this  church 
in  his  native  place. 

In  plan,  this  church  is  certainly  very 
like  an  English  one,  terminating  scpiarely 
towards  the  east,  and  with  side  chaplets  tu 
the  transepts,  airanged  very  much  as  we 
find  them  at  Buildwas,  Kirkstall,  and  other 
churches  of  this  class  and  size,  only  that 

here  they  are  polygonal,  which  was  hardly  ever  the  case  in  England. 
But  with  this  English  plan  all  influences  of  the  English  architect  seem 


4"- 


(i22.     rian  of  the  Churcli  at  VpitiOH. 

From  Osten's  Uaukunst  in  Lcmilwrilci. 

Scale  100  It.  to  1  in. 


7r)8 


POINTED  STYLE  IN  ITALY 


Book  VL 


to  have  oeasod,  the  rest  Lcnnt^lnnlt  in  pnvely  Italian  .style.  Exfornall^', 
the  ]iointe(l  arch  nowhere  ajipears,  all  the  doors  and  windows  being 
circular-headed  ;  and  internally  it  is  confined  to  the  pier-arches  of  tho 
uave  and  the  vaulting  of  the  roof.  The  fa^'ade  is  flanked  by  two  tall, 
slender,  square  towers  at  the  angles ;  and  the  intersection  of  the  nave 
and  transept  is  covered  by  one  of  those  elegant  octagonal  domes  which 
the  Italians  knew  so  well  how  to  use,  and  which  is  in  fact  tho  one 
original  and  good  feature  in  their  designs.  The  external  form  of  this 
church  is  interesting,  as  being  the  prototype  which  w^as  so  greatly 
expanded  two  centuries  afterw^ards  by  a  German  architect  in  the 
design  of  Milan  cathedral. 

A  few  years  after  this,  in  1229,  a  church  was  commenced  at  Asti, 
and  the  tower  finished  in  1266.  This  allowed  time  for  a  more  complete 
development  of  the  pointed  style,  which  here  appears  not  onl}^  inter- 


623. 


Church  at  Asti.     I'niiu  ('li.Mjiny.  M<  yon  Api'  Mumiiiu  iital 


Chai'.  T.  CHUECH  at  ASSIST— PADUA.  7(i0 

iially.  Itiit  t-xternally.  Tall  lancet  windows  appear  in  the  flanks,  and 
even  the  dooi-ways  assume  this  form  in  their  canopies  at  least,  if  not 
in  tlieir  0]ieninp;s.  The  porch  shown  in  the  view  (woodcut  No.  (123) 
is  a  later  addition,  and  a  characteristic  specimen  of  the  style  during 
the  14th  century.  This  church  is  also  one  of  the  earliest  examples  in 
wliich  those  elegant  terra-cotta  cornices  of  little  intersecting  arches 
seem  to  have  been  brought  to  perfection. 

The  most  remarkable  church  of  this  age  is  that  of  St.  Francis  at 
.Vssisi,  commenced  a.d.  1228,  and  finished,  in  all  essentials  at  least, 
A.n.  1253.  It  is  said  to  have  been  built  by  a  German  named  Jacob,  oi' 
Jacopo.  Certainly  no  Frencli  or  English  architect  would  have  designed 
a  double  church  of  this  class,  and  no  Italian  could  have  drawn  details 
so  purely  Xoi-thern  in  character  as  those  of  the  upper  church.  In  the 
loAver  church  there  are  hardly  any  mouldings  that  mark  the  style,  but 
still  its  character  is  certainly  rather  German  than  Italian.  This  church 
depends  on  its  painting  much  more  than  on  its  architecture  for  its 
magnificence  and  character.  In  the  first  place  it  is  small,  the  upper 
church  being  only  225  ft.  long,  by  36  in  width  ;  and  though  the  lower 
one  has  side  aisles  which  extend  the  width  to  100  ft.,  the  upper 
church  is  only  GO  ft.  in  height,  and  the  lower  about  half  as  high,  so  that 
it  is  far  too  small  for  much  architectural  magnificence.  Kone  of  its 
details  are  equal  to  those  of  contemporary  churches  on  this  side  of  the 
Alps.  The  whole  church  is  covered  with  fresco-paintings  in  great 
variety  and  of  the  most  beautiful  character,  which  render  this  churcli 
one  of  the  most  celebrated  and  admired  of  all  Italy.  Without  its 
frescoes,  and  if  found  on  this  side  of  the  Alps,  it  would  hardly  attract 
anj^  attention.  It  is  invaluable  as  an  example  showing  to  what  extent 
polychromatic  decoration  may  be  profitably  carried,  and  how  it  should 
be  done  ;  and  also  as  an  illustration  of  the  extent  to  which  the  Italians 
allowed  foreigners  to  introduce  their  style  and  mode  of  ornamentation 
into  the  country. 

If  from  these  we  turn  to  the  church  of  St.  Antonio,  Padua  (1231- 
1307),  we  find  the  unsettled  architectural  ideas  of  the  Italians  assuming 
another  form  altogether.  It  is  no  longer  a  German  or  Englishman 
trying  to  engraft  his  own  upon  the  old  round-arched  Lombard  style, 
but  an  attempt  to  amalgamate  those  old  forms  with  the  Byzantine 
cupolas  of  the  neighbouring  city  of  Venice.  A  signal  failure  was  the 
result,  for  an  uglier  church  can  hardly  be  found  anywhere.  Its  Eastern 
domes,  its  German  spires  and  narrow  galleries  of  pointed  arches,  make 
up  an  aggregate  that  could  exist  nowhere  else.  We  cannot  regret  that 
it  found  no  imitators :  on  the  contrary,  the  style  in  the  valley  of  the 
Vo  seems  to  have  settled  down  into  what  is  generally  known  as  Italian 
pointed  Gothic,  of  which  St.  Anastasio  at  Verona  (1307)  may  be  taken 
as  the  type.  This  variety  is  not  without  some  beauties  of  its  own,  but 
certainly  inferior,  both  in  originality  of  design  and  power  of  expression, 
to  the  round-arched  style  which  it  superseded,  and  immeasurably  so 
in  completeness  and  finish  of  arrangement  and  detail  to  the  Korihern 
style,  which  it  was  so  vainly  trying  to  imitate. 

The  catliedrals  of  Sienna  and  Orvieto  (the  former  commenced  in 

3  u 


770 


ITAFJAN  AHClHTEOTUniv 


PooK  VT. 


1243,  the  latter  in  1290)  are  perhaps,  taken   altogether,  the  most  snc- 
cessful  specimens  of  Italian  pointed  Gothic,     'i'hey  are  those  at  least 

in  which  the  system  is  carried  1o 
the  greatest  extent  •withont  either 
foreign  aid  or  the  application  of 
distinctly  foreign  details.  These 
two  hnildings,  moreover,  both  retain 
their  original  faq'ades  as  completed 
by  the  first  architects,  while  the 
three  great  churches  of  this  style — 
the  cathedrals  of  Florence,  Bologna, 
and  Milan — were  all  left  unfinished, 
as  well  as  many  others  of  the  smaller 
churches  of  Italy.  That  at  Sienna 
illustrates  forcibly  the  tendency  ex- 
hibited by  the  Italian  architects  to 
adhere  to  the  domical  forms  of  the 
old  Etruscans,  which  the  Romans 
amplified  to  such  an  extent,  and 
the  Byzantines  made  peculiarly 
their  own.  It  is  much  to  be  re- 
gretted that  the  Italians  only,  of 
all  the  Western  mediaeval  builders, 
showed  any  predilection  for  this 
form  of  roof.  On  this  side  of  the 
Alps  it  would  have  been  made  the 
most  beautiful  of  architectural  forms. 
In  Italy  there  is  no  instance  of  more  than  moderate  success — nothing, 
indeed,  to  encoTirage  imitation.  Even  the  instance  noAv  before  us  is 
no  exception  to  these  remarks,  though  one  of  the  boldest  efiqrts  of 
Italian  architects.  In  plan  it  ought  to  have  been  an  octagon,  but 
that  apparently  would  have  made  it  too  large  for  their  skill  to 
execute,  so  they  met  the  difficulty  by  adopting  a  hexagonal  form, 
which,  though  producing  a  certain  variety  of  perspective,  fits  aAvk- 
wardly  with  the  lines  of  columns,  and  twists  the  vaults  to  an  unplea- 
sant extent.  Still  a  dome  of  moderate  height,  and  58  ft.  in  diameter, 
covering  the  centre  of  the  church,  and  with  sufficient  space  around 
it  to  give  it  dignity,  is  a  noble  and  pleasing  feature,  the  merit  of 
which  it  is  impossible  to  deny.  Combined  with  the  rich  colouring 
and  gorgeous  furnitiire  of  the  church,  it  makes  up  a  whole  of  great 
beauty.  The  circular  pier  arches,  however,  and  the  black  and  white 
stripes  by  which  the  elevation  is  marked,  detract  considerably  from 
the  effect  of  the  whole — at  least  in  the  ej'es  of  strangers,  thdugh  the 
Italians  still  consider  this  a  beauty.  The  facade  of  this  cathedral  is 
represented  (woodcut  No.  625).  It  consists  of  three  great  portals, 
the  arches  of  which  are  equal  in  size,  though  the  doorway  in  the  centre 
is  larger  than  those  at  the  sides.  Above  this  is  the  invariable  circular 
window  of  the  Italian  architects,  and  the  whole  is  crowned  by  a  steeji 
triangidar  gable. 


62t. 


Plan  of  Cathedral  at  Sienna.     From  tbe 
Eglises  I'l-iiuipales  d'Europo. 
Scale  100  ft.  to  1  in. 


C'llAI-.   I. 


CATHEDRAL  OF  SIENNA. 


t  ( 


The  carved  architectural  ornaments  of  this  f;x<;'ade  are  rich  and 
elaborate  in  the  extreme,  though  fignrcd  sculpture  is  used  to  a  much 
loss  oxtont  than  in  Xorthorn  portals  of  the  same  ago.  It  is  also  ohscvv- 
ahlcthat  the  strong  horizontal  Hues  do  not  harmonise  with  the  aspiring- 
character  of  pointed  architecture. 


liayaiie  ot  tne  Catuedial  at  Sieuna. 


The  cathedral  of  Orvieto  is  smaller  and  simpler,  and  less  rich  in  its 
decorations,  than  that  at  Sienna,  with  the  exception  of  its  fac/adc,  which 
is  adorned  with  scidpture  and  painting.  Indeed  this  three-gabled  front 
may  be  considered  the  typical  one  for  churches  of  this  class.  I'hc 
faf;adcs  intended  to  have  been  applied  to  the  churches  at  Florence, 
Bolog-na,  Milan,  and  elsewhere,  wi-io   no  doubt  very  similar  to  that  ro- 

3   1)  2 


772 


ITAl.IAN  ARCHITECTURE. 


Book  V], 


presented  in  wooilcut  No.  025.  As  a  frontispiece,  if  elaborately  sculp- 
tui-ed  and  painted,  it  is  not  withont  considerable  appropriateness  and 
even  beanty  :  but,  as  an  architectural  object,  it  is  intinitely  inferior  to 
the  double-towered  facades  of  the  Korthern  cathedrals,  or  even  to  those 
with  only  one  great  tower  m  the  centre.  It  has  besides  the  defect  of 
not  expressing  what  is  behind  it,  the  central  gable  being  always  higher 
than  the  roof,  and  the  two  others  merely  ornamental  appendages. 
Indeed  this,  as  well  as  the  Italian  Gothic  buildings  generally,  depended 
on  painting,   sculpture,  and  carving  for  its  effect,  far  more  than  on 

architectural  de- 
sign properly  so 
called. 

By  far  the 
greatest  and  most 
perfect  example 
of  Italian  Gothic 
is  the  church  of 
Sta.  Maria  dei  Fi- 
ori,  the  cathedral 
of  Florence,  one 
of  the  largest  and 
finest  churches 
produced  in  the 
middle  ages— as 
far  as  mere  gran- 
deur of  concep- 
tion goes,  per- 
haps the  very 
best,  though  con- 
siderably marred 
in  the  execution. 
The  building 
of  the  church 
was  commenced 
in  the  year  1294 
or  1298  (it  is 
not  quite  clear 
which),  from  the 
desi  gns  and  under 
the  superintend- 
ence of  AiTLolpho 
da  Lapo,  for 
unfortunately  in 
this  style  we 
know  the  names 
of  all  the  archi- 
tects ;  and  all  the 
churches  show  traces  of  individual  caprice,  and  the  misdirected  efforts 
of  individuals,  instead  of  the  combined  national  movement  which  pro- 


626. 


Plan  of  Cathedral  at  Florence.    From  Isabelle,  Edifices  Circulaires. 
Scale  100  ft.  to  1  in. 


I 


Chap.  I. 


FLORENCE  CATHEDRAL. 


/  <o 


duccd  such  splendid  results  in  France  and  England.  It  is  not  (jnitc 
clear  how  tar  Arnolpho  carried  the  building,  but  probably  as  high  as 
the  springing  of  the  vaults,  at  the  time  of  his  death  in  loOO.  After 
this  the  works  proceeded  more  leisurely,  but  the  nave  and  smaller 
(hiiiu's  tif  tlie  choir  were  probably  completed  as  we  now  find  them  in 
the  first  20  years  of  the  14tli  century.  The  great  octagon  remained 
lURdvercd  till  Brunelleschi  commenced  the  present  dome,  a.d.  1420, 
and  completed  it  in  all  essential  parts  before  his  death,  whicli  happened 
in  1444.  The  building  may  therefore  be  considered  as  essentially  con- 
temporary with   the  cathedral  of  Cologne,   and   is  very  nearly  of  the 


627.        Section  of  Dome  and  part  of  Nave  of  the  Cathedral  at  Florence.    Scale  100  ft.  to  1  in. 


same  size,  covering  84,802  ft.  (Cologne  81,461),  and,  as  far  as  mere 
conception  of  plan  goes,  there  can  be  little  doubt  but  that  the  Floren- 
tine cathedral  far  surpasses  its  German  rival.  Nothing  indeed  can  be 
finer  than  the  general  plan  of  the  Italian  church.  A  vast  nave  leads 
to  an  enormous  dome,  extending  into  the  triapsal  arrangement  so 
common  in  the  early  churches  of  Cologne,  and  which  was  repeated  in 
the  last  and  greatest  effort  of  the  middle  ages,  or  rather  the  first  of  the 
new  school  -  the  great  chui-ch  of  St.  Teter  at  Kome.  In  the  Florentine 
church  ail  these  parts  are  V>etter  subordinated  and  proportioned  than 


774 


ITALIAN  AKClilTECTL'KE. 


Book  VI. 


liiiiiii 


>ftCia5<ai- 


in  any  other  examplo,  and  the  niude  in  \<'hicli  the  effect  increases  and 
the  whole  expands  as  "sve  approach  from  tlie  entrance  to  the  sanctnm 
itj  unrivalled.  All  this,  alas  I  is  utterl}'  thro^^^l  a^vay  in  the  execution. 
Like  all  inexperienced  architects,  Amolpho  seems  to  have  thought 
that  greatness  of  parts  would  add  to  the  greatness  of  the  whole,  and  in 
consequence  used  only  4  great  arches  in  the  whole  lengih  of  his  nave, 
giving  the  central  aisle  a  width  of  55  ft.  clear.  The  whole  Avidth  is 
Avithin  10  ft.  of  that  of  Cologne,  and  the  height  about  the  same;  and 

yet,  in  appearance,  the  height  is 
about  half,  and  the  breadth  less 
than  half,  owing  to  the  better  pro- 
]  Portion  of  the  parts  and  to  the 
superior  appropriateness  in  the  de- 
tails on  the  part  of  the  German 
cathedral.  Here  the  details  are 
positively  ugly.  The  windows  of 
the  side  aisles  are  small  and  mis- 
placed, those  of  the  clerestory  mere 
circular  holes.  The  proportion  of 
the  aisles  one  to  another  is  bad,  the 
vaults  ill  formed,  and  altogether  a 
colder  and  less  effective  desig-n  was 
not  produced  in  the  middle  ages. 
The  ti-iapsal  choir  is  not  so  ob- 
jectionable as  the  nave,  but  there 
are  large  plain  spaces  that  now 
look  cold  and  flat;  the  AvindoAvs  are 
too  small,  and  there  is  a  gloom 
al)0ut  the  Avhole  AA'hich  is  A-ery  un- 
satisfactory. It  is  more  than  pro- 
bable that  the  original  intention 
was  to  paint  the  AA-alls,  and  not  to 
colour  the  Avindows,  so  tliat  these 
defects  are  not  perhaps  chargeable 
to  the  original  design. 

Externally  the  facade  was  never 
tinished,  and  we  can  only  fancy  Avhat 
was  intended  from  the  analogy  of 
Sienna  and  OrA-ieto.  The  flanks  of 
the  nave  are  AAdthout  buttresses  or 
pinnacles,  and  Avith  only  a  fcAv  in- 

62S.  Part  of  ihe  Flank  ol  Latliedial  at  Florence,  significant  A\dildOAVS  AVOuld  be  pain- 
fully flat,  except  for  a  A'cneer  of 
coloured  marbles  disposed  in  pannels  over  the  whole  surface.  For 
an  interior  or  a  paA'ement  such  a  mode  of  decoration  is  admissible ;  but 
it  is  so  unconstructive,  so  evidently  a  mere  decoration,  that  it  giA'es  a 
AA'eakness  to  the  Avhole,  and  a  most  unsatisfactory  appearance  to  so 
large  a  building.  This  is  much  less  apparent  at  the  east  end :  the  out- 
line is  here  so  broken,  and  the  main  lines  of  the  consti'uction  so  plainly 


Cu.vr.  1, 


{JATUEDUAL  U^  I'LuKENCE. 


<  to 


uiarked,  that  the  mere  tilling  in  is  comparatively  unimportant.  This 
part  is  tlu'  great  beauty  of  the  church,  and  as  far  as  it  was  (carried  np 
according  to  the  original  design,  is  extremely  beautiful.  Even  tho 
plainness  and  flatness  of  the  nave  serve  as  a  foil  to  set  off  the  beauty 
of  the  choir.  Above  the  line  of  the  cornice  of  the  side-aisles  there  is 
nothing,  except  the  first  division  of  the  drum  of  the  dome,  which 
follows  the  lines  of  the  clerestory,  that  can  be  said  to  belong  to  the 
tiriginal  design.  It  has  long  been  a  question  what  Arnolpho  originally 
intended,  and  how  he  meant  to  cover  the  great  octagonal  space  he 
had  prepared.  All  knowledge  of  his  intentions  seems  to  have  been 
lost  Avithin  a  century  after  his  death:  at  least  in  the  accounts  we 
have  of  the  proceedings  of  the  commission  which  resulted  in  the 
adoption  of  Brunelleschi's  design  for  the  dome,  no  reference  is  made 
to  any  original  design  as  then  existing,  and  no  one  seems  to  have 
known  how  Arnolpho  intended  to  finish  his  work.  Judging  from  the 
work  so  far  as  it 
was  carried  by  him, 
witli  the  know- 
ledge which  we 
nowhave  of  Italian 
architecture  of  that 
age,  we  can  form 
a  very  probable 
conjecture  of  his 
design  for  its  com- 
pletion. It  is  likely 
that  this  consisted 
of,  internally,  a 
dome  something 
like  the  present, 
but  flatter,  spring- 
ing from  the  cor- 
nice 40  ft.  lower 
than  the  present 
one,  and  pierced  - 
with  openings  on 
each  face. 

Externally,    it  ^ 
was     probably    to 
be  arranged  some- 
thing    like      that  ^ 
of         Chiaravalle, 
near  Milan  (wood- 
cut No.  C*2'J),  built 
in  1221,  of  course 
witli   difitereut  de- 
tails,   but    in    sto- 
ries, so  as  to  render  the  construction  easy  ;  and  this  would  have  been 
carried  up  to  a  height  of  not  less  than  500  ft.,  about  equal  to  the  length 


G2i). 


Dome  at  Chiaravalle,  near  Milan.    Irom  a  drawing  by 
Ed.  Falkener,  Esq. 


7/0 


IT AL 1 A N  AliUll ITECT U HE. 


Book  VI. 


of  the  church.  The  throe  semi-domes  around  the  great  dume  must  have 
been  intended  to  he  covered  with  niiniatuie  octagonal  .s})ires  of  the 
same  chiss,  and  between  thiise  the  vast  substructures  show  that  it  was 
intended  to  carry  up  4  great  spires,  probably  to  the  height  of  4U()  ft. 

ilad  all  this  been  done  (and  something  very  like  it  certainly  was 
intended),  neither  Cologne  Cathedral,  nor  any  church  in  Europe, 
either  ancient  or  modern,  could  be  compared  with  this  great  and  glo- 
rious a})se.  As  it  is,  the  plain,  heavy,  simple  (jutlined  dome  of  Bru- 
uelleschi  acts  like  an  extinguisher,  and  crushes  the  whole  of  the  lower 
part  of  the  composition,  and  both  internally  and  externally  destroys 
all  harmony  between  the  parts.  It  has  depiived  us  of  the  only  chance 
that  ever  existed  of  judging  of  the  eft'ect  of  a  great  Gothic  dome  ;  nor 
indeed  such  a  dome  as  might  on  the  same  dimensions  have  been  exe- 
cuted on  this  side  of  the  Alps,  but  still  in  the  spirit,  and  with  much 

of  the  poetry,  Avhich  gives 
such  A'alue  to  the  conceptions 
of  the  builders  in  those  days. 

But  for  this  change  in  the 
plan,  the  ambition  of  the  Flo- 
rentines might  have  been  in 
some  measure  satisfied,  whose 
instructions  to  the  architect 
were,  that  their  cathedral 
"•  should  surpass  everything 
that  human  industry  or  hu- 
man power  had  conceived  of 
great  and  beautiful." 

About  a  century-'  later 
(1390),  the  Bolognese  deter- 
mined on  the  erection  of  a 
monster  cathedral,  that,  in  so 
far  as  size  went,  would  have 
been  more  than  double  that  at 
Florence.  According  to  the 
plans  that  have  come  down  to 
us,  it  was  to  have  been  abotit- 
800  ft.  long  and  525  Avide 
across  the  transepts ;  at  the 
intersection  Avas  to  have  been 
a  dome  130  ft.  in  diameter,  or 
only  6  ft.  less  than  that  at 
Florence ;  and  the  width  of 
both  nave  and  transepts  was 
to  have  been  183  ft.  :  so  that 
the  Avhole  would  have  covered 
about  212,000  ft.,  or  nearly  the 
same  area  as  St.  I'eter's  at  Bome,  and  thiee  times  that  of  any  French 
cathedral !  Of  this  vast  design,  only  al)out  one-third,  or  74,000  square 
ft.,  was  ever  executed ;   and  it  is  fortunate  that  it  stopped  there,  as  no 


-"J 


1    I      /     \       M     \/'    L 


UJO. 


Plan  of  the  part  executed  of"  St.  Petronio,  Bologna. 
From  Wiebeking.    Scale  1 00  ft.  to  1  in. 


Chap.  1. 


CATHEDRAL  OF  BOLOGNA. 


ii,i;-lier  building  was  ever  designed  or  executed.  The  plan  and  section 
of  it.  (woodcuts  Nos.  ()30  and  tJol)  are  not  without  interest,  as  ilhis- 
trating  tlie  princiiik'S  of  Italian  design,  and  useful  for  comparison 
either  with  such  buildings  as  the  beautiful  cathedral  at  Bourges,  which 
has  aisles  of  ditferent  heights  like  this,  or  to  illustrate  the  great  cathe- 
dviil  of  ^lilan,  which  comes  next  in  our  series. 


%m///M////v/////''/''S////////m^^^^^ 


631. 


Section  of  St.  Petronio,  Bologna.    From  Wiebeking.    Scale  50  ft.  to  1  in. 


As  will  be  seen  from  the  plan,  the  great  object  of  the  architect 
seems  to  have  been  to  cover  the  greatest  possible  space  from  the  fewest 
possible  points  of  support,  using  his  side  chapels  to  get  internal  instead 
of  external  buttresses.  In  this  design,  the  square  of  the  vault  of  the 
central  nave  becomes  the  modulus,  instead  of  that  of  the  side-aisles  as 
in  all  true  Gothic  buildings.  Hence  the  nave  is  constructed  with 
only  six  bays  in  length  instead  of  twelve,  and  all  the  other  parts  are 
lean  and  wide  in  proportion. 

The  cathedral  of  Milan,  which  is  certainly  the  most  remarkable  as 
well  as  the  largest  and  richest  of  all  the  churches  erected  in  the 
middle  ages,  was  commenced  in  the  year  1385,  by  order  of  John  Ga- 
Itiazzo,  first  Duke  of  Milan,  and  consecrated  in  1418,  by  which  time 
all  the  essential  parts  seem  to  have  been  completed,  though  the  central 
spire  was  not  finished  till  about  the  year  14-1:0  by  Ihunellcschi. 

The  design  for  this  church  is  said  to  have  been  liirnished  by  Henry 
Arlez  of  Gemunden,  or  as  the  Italians  call  him,  dc  Ganiodia,  a  German 


778 


ITALIAN  AUCHITEGTUKE. 


Book  VI. 


archiloct;  and  it  is  certain  that  a  foreigner  mnst  have  been  employed 
— the  details  and  many  of  the  forms  are  so  essentially  Kortliern  ;  but 
it  is  equally  certain  that  he  Avas  not  allowed  to  control  the  whole,  for 
all  the  great  features  of  the  church  are  as  thoroughly  Italian  as  the 
details  are  German  :  it  is  therefore  by  no  means  imjirobable  that  Marco  de 

Campilione,  as 
the  Italians  as- 
sert, or  some 
other  native  art- 
ist, was  joined 
with  or  control- 
led him. 

In  size  it  is 
the  largest  of  all 
Mediaeval  cathe- 
drals, covering 
107,782  ft.  In 
material  it  is 
the  richest,  be- 
ing built  wholly 
of  white  marble, 
which  is  scarcely 
the  case  with  any 
other  church, 
large  or  small ; 
and  in  decora- 
tion it  is  the 
most  gorgeous : 
the  whole  of 
the  exterior  is 
covered  with 
tracery,  and  the 
amount  of  carv- 
ing and  statuary 
lavished  on  its 
pinnacles  and 
spires  is  unri- 
valled by  any 
other  building  of 
Europe.  It  is  al- 
so built  wholly 
(with  the  ex- 
ception of  the 
fa^-ade)  accord- 
ing to  one  design.  Yet  with  all  these  advantages,  the  appearance  of 
this  wonderful  building  is  not  satisfactory  to  any  one  who  is  familiar 
with  the  great  edifices  on  this  side  of  the  Al]is.  Cologne,  if  complete, 
Would  be  more  beautiful ;  Kheinis,  (.'hartres,  Amiens,  and  Be  mrges  leave 
a  far  more  satisfactory  impression  on  the  mind  :  and  even  the  little 


C32.    J'laii  of  the  Cathedral  of  Milan.    From  Chiesi  Principali  d'Europa. 
Senile  inoft.  to  1  in. 


Chap.  1. 


MILAN  CATHEDKAL. 


1 1 


0 


church  of  St.  Ouen  will  convey  for  more  pleasure  to  the  true  artist  than 
this  gorgeous  temple. 

The  cause  of  all  this  it  is  easy  to  understand,  as  all  i^n-  nearly  all 
its  defects  arise  from  the  introduction  of  Italian  features  into  a  Gothic 
Ituilding;  or  rather,  perhaps,  it  should  ho  said,  that  all  that  was 
allowed  the  German  architect  was  to  ornament  an  Italian  cathedral. 
Taking  the  contemporary  cathedral  of  St.  Petronio  at  Bologna  as  our 
standard  of  comparison,  it  will  he  seen  that  the  section  (woodcut 
No.  031)  is  almost  identical  both  as  to  dimensions  and  form  ;  but  from 


633. 


Sectiuu  ut  Cathedral  ol  Milan.'     From  Wiebeking.    Scale  50  ft.  to  1  in. 


the  plan,  it  will  be  perceived  that  the  German  system  prevailed  in 
doubling  the  number  of  piers  between  the  central  and  side-aisles, 
and  so  far  saved  the  church.  The  two  small  clerestories,  however, 
still  remain ;  and  although  the  design  avoids  the  mullionless  little 
circles  of  Bologna,  there  is  only  space  for  little  openings,  which 
might  rather  be  called  attic  than  clerestory  windows.  The  greater 
(juantity  of  light  being  thus  introduced  by  the  tall  windows  of  the 


'  Tli(t  plan  and  sei-t.ion  being  taken  from  ])lan  to  be  the  more  correct  of  the  two,  thoiiirli 
two  ilirtorent  writi'rs,  there  is  a  slight  disere-  I  liave  no  means  of  being  quite  ceitaiu 
)iaiu;y  between    the    scales.     I   believe    the      regarding  this. 


780  ITALIAN  ARCHITECTURE.  Book  VI. 

outer  aisle,  the  a])pearance  is  that  of  a  building  lighted  from  below, 
which  is  fatal  to  arehitcctural  effect. 

The  Gerinaii  architect  seems  to  have  designed  great  portals  at  each 
end  of  the  transepts,  as  shown  in  the  model  still  preserved  on  the  spot. 
This  was  overruled,  and  three  small  polygonal  apses  substitiited. 
Instead  of  the  great  octagonal  dome  which  an  Italian  would  have  placed 
upon  the  intersection  of  the  whole  width  of  the  nave  and  transepts, 
German  influence  has  confined  it  to  the  central  aisle,  which  is  perhaps 
more  to  be  regretted  than  any  other  mistake  in  the  building.  The 
choir  is  neither  a  French  chevet  nor  a  German  or  Italian  apse,  but  a 
compromise  between  the  two,  a  French  cii'clet  of  columns  enclosed  in 
a  German  polygonal  termination.  This  part  of  the  building,  with  its 
simple  forms  and  three  glorious  windows,  is  perhaps  an  improvement 
on  both  the  methods  of  which  it  is  comjiounded. 

This  is  the  nearest  appi'oach  to  the  French  chevet  arrangement  to 
be  found  in  all  Italy.  It  is  extremely  rare  to  find  in  that  country  an 
aisle  running  round  the  choir,  but  not  opening  into  it,  with  the  circlet 
of  apsidal  chapels  which  is  so  universal  in  France.  The  Italian  churcli 
is  not,  in  fact,  derived  from  a  combination  of  a  circular  Eastern  church 
with  a  Western  rectangular  nave,  biit  a  direct  copy  from  the  old 
Koman  basilica. 

The  details  of  the  interior  are  almost  wholly  German.  The  great 
capitals  of  the  pillars,  with  their  niches  and  statues,  are  the  only  com- 
promise between  the  ordinary  German  form  and  the  great  deep  ugly 
capitals,  fragments  in  fact  of  classical  entablatures,  which  disfigure  the 
cathedrals  of  Florence  and  Bologna,  and  so  many  other  Italian  churches. 
Had  the  ornamentation  of  these  been  carried  up  to  the  springing  of  the 
vault,  they  would  have  been  unexceptionable ;  as  it  is,  with  all  their 
richness  their  eifect  is  unmeaning. 

Externally,  the  appearance  is  very  similar  to  that  of  Sta.  Maria  dei 
Fiori ;  the  apse  is  rich,  varied,  and  picturesque,  and  the  central  dome 
(excepting  the  details)  exactly  similar,  thoitgh  on  a  smaller  scale,  to 
what  I  believe  to  have  been  the  original  design  of  the  Florentine  church. 
The  nave  is  nearly  as  flat  as  at  Florence,  the  clerestory  not  being  visible  ; 
but  the  forest  of  pinnacles  and  flying  buttresses  and  the  richness  of  the 
ornamentation  go  far  to  hide  that  defect.  The  facade  was  left  un- 
finished, as  in  so  many  others  of  the  great  churches  of  Italy.  Pellegrini 
was  afterwards  employed  to  finish  it,  and  a  model  of  his  design  is 
still  preserved.  This  plan  is  such,  that  it  is  fortunate  that  it  was  not 
carried  out.  The  facade  was  finished,  as  we  now  see  it,  from  the  designs 
of  Amati,  by  order  of  Napoleon.  It  is  common-place,  as  might  be 
expected  fi-om  its  age,  but  inoffensive.  The  doorwaj^s  are  paii  of  Pelle- 
grini's design,  and  the  mediaeval  forms  being  placed  over  those  of  the 
cinque-cento,  produce  a  strangely  incongruous  effect.  Several  original 
designs  for  this  west  front  are  still  j^reserved.  One  of  these,  with  two 
small  square  towers  at  the  angles,  as  at  Vercelli  and  elsewhere,  no  doubt 
was  the  Italian  design.     The  German  one  is  preserved  by  Bassi,'  of 


Dispareii  d'Arcliitecti 


Chap.  T.  THK  CERTOSA.  .     781 

which  woodcut  No.  034  is  a  tracing :  had  this  been  oxcciited,  the  facade 
would  liavc  iKHm  about  one-third,  or  100  ft.  wider  than  that  of  Colot^nc. 
Jf  the  lieight  of  the  towers  had  m     '       '  '        °      Bi 

been  greater  in  the  same  propor-  pj  if    ^  ^ 

tion,  they  would  have  been  the   [  '      j_"'1       •  "         T    ^L,  J 

tallest  in  the  world.    In  that  case   prC^^^  1      -^  ^       i^       l;  li 

the  effect  woidd   have   been   the    '-;  H        ";  r^^  "^^^^^       ^^     ■  (^n  -i  !  1 
same  here  as  at  Cologne,  of  short-   [p-^U-J 


ening  and  overpowering  the  rest   ^.^^    „,,i.u  lor  Facade  of  Milan  Cathedral,    i  .m.u 

of  the  liuilding  to  a  painful  extent.  Bassi. 

A  medium  design  between  these 

two,  with  spires  rising  to  the  same  height  as  the  central  one,  or  about 

360  ft.,  would  perhaps  have  the  happiest  effect.     It  is  certain  that  the 

want  of  some  such  features  is  greatly  felt  in  the  exterior  of  this 

1  luilding. 

The  Certosa,  near  Pavia,  was  commenced  at  the  same  time  as  the 
cathedral  at  Milan  (1396).  It  is  remarkable  in  the  middle  ages  to  find 
two  buildings,  so  close  to  one  another  in  date  and  locality,  so  dissi- 
milar as  these  are.  There  is  no  instance  of  such  an  occurrence  on  this 
side  of  the  Alps,  till  modern  times  at  least ;  and  it  shows  that  in  those 
days  the  Italians  were  nearly  as  devoid  of  any  distinct  principles  of 
architecture  as  we  have  since  become. 

The  great  difference  here  is  that  there  is  no  trace  of  foreign  influ- 
ence in  the  building.  It  is  as  purely  Italian  as  St.  Petronio,  and 
perhaps  even  worse  in  design — internally  at  least — which  is  saying  a 
good  deal.  Nothing,  however,  can  be  more  painful  than  the  dis})ro- 
portion  of  the  parts,  the  bad  drawing  of  the  details,  the  malformation 
of  the  vardts,  and  the  meanness  of  the  windows  ;  but  all  these  defects 
are  so  completely  hidden  by  the  most  gorgeous  colouring  and  furni- 
ture of  such  richness  as  almost  to  be  unrivalled.  So  much  more 
attractive  are  these  two  features  to  the  majority  of  spectators,  and  so 
much  more  easily  understood,  that  nine  visitors  out  of  ten  are  delighted 
with  this  church,  and  entirely  overlook  its  miserable  architecture  in 
the  richness  and  brilliancy  of  its  decorations. 

Externally  the  architecture-  is  better  than  in  the  interior.  From 
its  proximity  to  Pavia,  it  retains  its  beautiful  old  galleries  under  the 
roof.  Its  circular  apses,  with  their  galleries,  give  to  this  church,  for 
the  ago  to  which  it  belongs,  a  peculiar  character,  harmonizing  Avell 
with  the  circular-headed  form,  which  nearly  all  the  windows  and  open- 
ings present.  Even  in  the  interior  there  are  far  more  circular  than 
pointed  arches. 

The  most  beautiful  and  wonderful  part  of  the  building  is  the  fa(,'ade. 
This  was  begun  in  1473,  and  is  one  of  the  best  specimens  in  Italy  of 
the  lienaissance  style.  It  therefore  does  not  come  within  the  subject 
of  the  present  chapter. 

It  would  be  a  tedious  and  unprofitable  task  to  attempt  to  particu- 
larize all  the  churches  which  were  erected  in  this  style  in  Italy,  as 
hardly  one  of  them  possesses  a  single  title  to  admiration  beyond  the 
very  vulgar  one  of  size.     To  this  Santa  Ch'oce,  at  Florence,  adds  its 


rH2 


ITALIAN  ARCHITECTURE. 


Book  VI. 


635.     Duomo  at  Ferrara.     From  Hope's  Aicliiteclure. 
Scale  50  ft.  to  1  in. 


association  with  the  great  men  that  lie  buried  in  its  vaults,  and  Stn. 
Maria  Novella  can  }>lead  the  exceptional  circnmstance  in  that  city  of 
possessing;  a  facade  ;  but  neither  of  these  has  anything  to  redeem  its 
innate  ugliness  in  the  eyes  of  an  architect. 

There  are  two  great  churches  at  Venice,  the  San  Giovanni  e 
Paulo  (124(5-1420),  and  the  Frari(1250);  but  they  are  both  entirely 
destitute  of  architectural  merit. 

A  much  more  beautiful  building  is  the  Duomo  at  Como,  the  details 
of  which  are  so  elegant  and  so  unobtrusively  used  as  in  great  measure 

to  make  up  for  the  bad 
design  and  awkward  fonn 
of  the  whole.  Its  facade 
is  perhaps  infei-ior  to  that 
of  the  Duomo  at  Ferrara. 
Here  we  do  not  find  the 
richness  of  the  fa(;'ades  of 
Sienna  or  Orvieto,  nor 
the  elegance  of  the  last 
named ;  but  among  the 
few  that  exist  it  stands 
pre-eminent  for  sober  prt)- 
priety  of  design,  and  the 
good  proportions  of  all  its 
parts.  The  repose  caused 
by  the  solidity  of  the 
lower  pai'ts,  and  the  gradual  increase  of  ornament  and  lightness  as 
we  ascend,  all  combine  to  render  it  harmonious  and  pleasing.  It  is 
true  it  wants  the  aspiring  character  and  bold  relief  of  Northern 
facades ;  but  these  do  not  belong  to  the  style,  and  it  must  suffice  here 
if  we  meet  with  a  moderate  amount  of  variety,  undisturbed  with  any 
very  prominent  instances  of  bad  taste. 

The  true  type  of  an  Italian  facade  is  well  illustrated  in  the  view 
of  St.  Francesco,  Brescia  (woodcut  No.  63(3),  which  may  be  considered 
the  germ  of  all  that  followed.  Whether  the  church  had  three  aisles  or 
five,  the  true  Italian  fe^ade  in  the  age  of  pointed  architecture  was  always 
a  modification  or  extension  of  this  idea,  though  introduced  with  more 
or  less  Gothic  feeling  according  to  the  circumstances  in  which  it  was 
placed. 

At  Florence  there  is  a  house  or  warehouse,  converted  into  a  church, 
Orsan  San  Michele  (Horreum),  which  has  attracted  a  good  de.al  of 
attention,  but  more  on  account  of  its  curious  ornaments  than  for  any 
beauty  of  design,  Avhich  it  docs  not,  and  indeed  can  hardly  be  expected 
to  possess.  The  little  chapel  of  Sta.  Maria  della  Spina,  at  Pisa,  owes  its 
celebrity  to  the  richness  of  its  niches  and  canopies,  and  to  the  scidpture 
which  they  contain.  In  this  the  Italians  were  always  at  home,  and 
probably  always  surpassed  the  Noi-thern  nations.  It  was  far  other- 
wise with  architecture,  properly  so  called.  This,  in  the  age  of  the 
pointed  style,  was  in  Italy  so  cold  and  unmeaning,  that  we  do  not 
wonder  at  the  readiness   there  displayed  to   return  to  the  classical 


Chap.  I. 


1)p:cline  of  pointed  style. 


'83 


iiiodoLs.  Tlie  Italians  are  to  be  forgiven  in  this,  but  wo  cannot  so 
easily  forgive  our  forefittbeis,  who  abandoned  a  far  in(irc  beantiful 
style  to  copy  one  which  they  had  themselves  infinitely  surpassed,  and 
this  only  because  the  Italians,  unable  either  to  comprehend  or  imitate 
the  true  principles  of  pointed  art,  were  forced  to  abandon  its  practice. 
Unfortunately  for  ns,  they  had  in  this  respect  sufficient  influence  to  set 
the  fashion  to  all  Europe. 


C.'iG. 


View  of  St.  Kiancesco,  Brescia.    From  Street's  Brick  anil  Marble  in  tlie  Midille  AM;es. 


"84  ITALIAN  AHCinTFXTUUE.  Book  VI 


CHAPTER   11. 


CONTENTS. 


Circular  chiu'clies  —  Towers  at  Prato  and  Florence  —  Porches  —  Civil  buildings  - 
Towu-halls — Venice  — Doge's  palace  —  Ca  d'Oro — Conclusion. 


Circular  Buildings. 


There  are  veiy  few  specimens  of  circular  or  polygonal  buildings  of 
any  class  belonging  to  tlie  Gothic  age  in  Italy.  As  cliurcbes  it  is  not 
expected  that  we  should  find  any.  Baptisteries  had  also  passed  out  of 
fashion.  One  such  building,  at  Parma,  commenced  in  1100,  deserves 
to  be  quoted,  not  certainly  for  its  beauty,  but  as  illustrating  those  lalse 
principles  of  design  shown  in  eveiy  part  of  every  building  of  this  age 
in  Italy. 

Externally  the  building  is  an  octagon,  0  stories  in  height,  the  4 
upper  of  which  are  merely  used  to  conceal  a  dome,  which  is  covered 
by  a  flat  wooden  roof.  The  lower  and  upper  stories  are  solid,  the 
others  are  galleries  supported  by  little  ill-shaped  columns.  It  is 
probable  that  this  was  not  the  original  design  of  the  architect,  Ante- 
lami.  No  doubt  he  must  have  intended  to  conceal  the  dome,  or  at 
all  events  to  cover  it,  as  this  was  universally  done  in  Italy ;  but 
instead  of  a  mere  perpendicular  wall  as  here  used,  the  external  outline 
should  have  assumed  a  conical  form,  which  might  have  rendered  it  as 
pleasing  as  it  is  now  awkward.  We  have  no  instance  of  a  circular 
building  carried  out  by  Italian  architects  according  to  their  own  prin- 
ciples, so  far  as  to  enable  us  to  judge  what  they  were  capable  of  in 
this  style,  unless  perhaps  it  is  the  tombsof  the  Scaligers  at  Verona. 
These  take  the  circular  or  polygonal  form  appropriate  to  tombs,  but 
they  are  on  so  small  a  scale  that  they  might  rather  be  called  crosses 
than  mausolea;  and  though  illustrating  all  the  best  principles  of 
Italian  design,  and  an  exuberance  of  exquisite  ornament,  they  can 
hardly  be  regarded  as  important  objects  of  high  art.  It  is  from  such 
as  these,  however,  and  from  these  only,  that  we  inaj  recover  the  prin- 
ciples of  this  art ;  for  not  being,  as  the  Northern  styles,  a  progressive 
national  effort,  but  generally  an  individual  exertion,  if  the  architect 
died  during  the  progress  of  a  building,  no  one  knew  exactly  how  he 
had  intended  to  finish  it,  and  its  completion  was  entmsted  to  the  caprice 
and  fancy  of  some  other  man,  which  he  indulged,  wholly  regardless  of 
its  congruity  with  the  work  of  his  predecessor. 


Chap.  II. 


TOWERS. 


785 


Towers. 

Tlie  Italians  in  ttie  age  of  pointod  architecture  were  hardly  more 
snccessfnl  in  their  towers  than  in  their  other  linildings,  except  tliat 
a  tower,  from  its  height,  must  always  be  a  striking  object,  and,  if 
accompanied  by  mass,  cannot  fail  to  have  a  certain  imposing  appear- 
ance, of  which  no  clumsiness  on  the  part  of  the  architect  can  deprive 
it.  Such  towers  as  the  Asinelli  and  Garisenda  at  Bologna  possess  no 
more  architectural  merit  than  the  chimneys  of  our  factories.  Most  of 
those  subsequently  erected  were  better  than  these,  but  still  the  Italians 
never  caught  the  true  idea  of  a  spire. 

Throughout  the  whole  of  the  middle  ages  the  Italia,ns  retained  the 
original  square  form,  making  them  as  broad  at  the  summit  as  at  the 
base.  With  very  few  exceptions  they  are  without  buttresses,  or  any 
projection  on  the  angles  to  give  them  even  an  appearance  of  strength. 
The  consequence  is,  that  when  they  placed  a  spire  on  such  an  edifice 
as  this,  it  always  fitted  awkwardly  :  they  never  understood  the  art  of 
preparing  for  it,  first  by  the  graduated  buttresses  of  the  base,  then  by 
the  strongly  marked  A-ertical  lines  of  the  upper  part  of  the  tower,  and 
above  all  b}'  the  circlet  of  little  spirelets  round  the  base  of  the 
central  spire  that  made  it  an  absolute  necessity  of  the  composition.  If 
the  Italians,  on  the  contraiy,  placed  an  octagon  on  their  square  towers, 
it  seemed  an  accident  for  which  nothing  was  prepared,  and  the  spire  was 


637. 


View  of  the  Duomo  at  Prato.    From  Wiebeking. 


3    K 


786 


ITALIAN  ARCHITECTURE. 


Rook  VI. 


separated  from  it  only  by  bold  horizontal  comices  instead  of  vertical 
lines,  as  tnie  taste  dictated. 

In  fact,  the  Italians  seem  to  ha^•c  benefited  less  by  the  experience  or 

instruction   of  their 
Northern  neighbours 
in      tower  -  bnilding 
than    in    any   other 
featru'e  of  the  style, 
and  to  have  retained 
their    old   forms    in 
thesfe  after  they  had 
abandoned   them   in 
other  parts  of  their 
churches.    The  tow- 
ers  of  Asti    (126(3) 
and  Sienna  (rebuilt 
in    1389)    are    illns- 
traied    in   woodcuts 
Nos.    623    and    625. 
There     certainly    is 
little   art   in    these. 
A  more  pleasing  spe- 
cimen is  the    tower 
(woodcnt   No.    637) 
attached  to  the  Dno- 
mo   at  Prato  (about 
1312),    which    may 
be   considered  as    a 
specimen  of  the  very 
best  class  of  Italian 
tower  design  of  this 
age,  although  in  fact 
its   only   merit  con- 
sists    in    increasing 
the  size  of  the  open- 
ings in   every  stor\' 
upwards,    so    as    to 
give  a  certain  degree 
of  lightness   to    the 
upper  part.  This  was 
almost     always     ac- 
complished   on   this 
side  of  the  Alps  by 
diminishing  the  dia- 
meter. ^Vhen  a  spire 
is  to  be  added,  that 
,.     .  ,r  -n      c.  „.■  APo.i..        is   the    only   admis- 

638.    Campanile,  Palazzo  Scahgen.  Verona.    From  Street  h  AV  ork.  -,■,,■, 

sible  mode ;  but  when 
the  buildino-  is  to  be  crowned  by  a  cornice  as  this  at  Trato,  the  mode 


Chap.  IT. 


TOWEHS, 


78^ 


hero  tslioAvii    is    pci'- 
liaps  profemblo. 

The  tower  whicli 
is  attached  to  the 
pahice  of  the  Scali- 
gcri  at  Verona  (wood- 
cut No.  638)  is  per- 
haps as  graceful  as 
any  other,  and  as 
characteristic  of  tlie 
Italian  principles  of 
tower-huilding.  The 
lower  part  is  abso- 
lutely plain  and  so- 
lid, the  upper  stoiy 
of  the  square  being 
pierced  with  one 
splendid  three-light 
window  in  each 
face,  above  which  is 
a  boldly  projecting 
cornice  marking  the 
roof.  On  this  is 
placed  an  octagon 
two  stories  in  height. 
If  the  lower  had  been 
liroken  by  turrets  or 
pinnacles  at  the  an- 
gles, it  would  have 
added  miich  to  the 
effect.  As  it  is,  it 
seems  only  a  make- 
shift to  eke  out  the 
height  of  the  whole  ; 
Ijut  the  upper  octa- 
gon with  its  boldly 
projecting  cornice  is 
in  itself  as  gi'aceful 
as  anything  of  the 
kind  in  Italian  archi- 
tecture. 

The  campanile  at- 
tached to  the  church 
of  St.  Andrea  at  Man- 
tua (woodcut  No. 
G39)  is  more  com- 
pletely Gothic  both 
in  its  design  and 
details.     Its  vertical 


639.  Campanile,  S.  Andrea,  Mantua. 


n   .IcAIT  T,S: 

Fnim  Street. 


3  E  2 


788 


ITALIAN  AIICIIITECTURE. 


Book  VI. 


m=  ^^ 


lines  are  strongly  marked,  and  the  string-courses  and  cornices  are  oi" 

nn)nldcd  hrickwoik,  wliicli  is  a  pleasing  and  characteristic  feature  in 

the  architecture  of  Lumbardy. 

Tlie  worst  part  of  this  design  is  the  sniallness  of  the  octagon  and 

spire,  and  the  imconnected  mode  in  Avhich  they  are  placed  on  the  roof 

of  the  tower. 

The  tj-pical  example  of  Italian  towers  is  that  erected  close  to  the 
Duomo  at  Florence  (woodcut  Xo.  640)  from 
designs  by  Giotto,  commenced  in  1324,  and 
considerably  advanced,  if  not  nearly  finished, 
at  the  time  of  his  death  two  3-ears  afterwards. 

Though  hardly  worthy  of  the  praise  that  has 
been  lavished  on  it,  it  certainly  is  a  veiy  beau- 
tiful building.  Being  covered  with  ornament 
from  the  base  to  the  summit,  it  has  not  that 
nakedness  which  is  the  reproach  of  many  others, 
and  the  octagonal  projections  at  the  angles 
give  it  considerable  relief.  Besides  this,  the 
openings  are  veiy  pleasingly  graduated.  It  is 
vii'tually  solid  for  about  one-third  of  its  height. 
The  middle  division  consists  of  two  stories, 
each  with  two  windows,  while  the  upper  part 
is  lighted  by  one  bold  opening  on  each  face  as 
ililli^llMf  il  1  ^^  Prato.     All  this  is  good.    One  gi-eat  defect  of 

'''i'^llffl!  liii  the  composition  is  its  straightness.    The  slight- 

est expansion  of  the  base  Avould  have  given  it 
great  apparent  stability,  which  its  height  re- 
quires. Another  fault  is  its  being  divided  by 
too  strongly  marked  horizontal  couises  into  dis- 
tinct stories,  instead  of  one  division  falling  by 
imperceptible  degrees  into  the  other,  as  in 
Northern  towers.  It  has  yet  another  defect  in 
common  with  the  Duomo  to  which  it  belongs  ; 
this  is  the  false  character  of  its  ornamentation, 
which  chiefly  consists  of  a  veneer  of  party- 
coloured  slabs  of  marble,  which,  however  beau- 
tiful in  itself,  is  objectionable  as  not  forming  a 
part  of  the  apparent  construction. 

The  tower  now  rises  to  a  height  of  269  ft., 
and  it  was  intended  to  have  added  a  spire  of 
about  90  ft.  to  this ;  but  unless  it  had  been  more 
gracefully  managed  than  is  usual  in  Italy,  the 
tower  is  certainly  better  without  it.  There  is 
nothing  to  suggest  a  spire  in  the  part  already 
executed,  nor  have  we  any  reason  to  believe 
that  Giotto  understood  the  true  principles  of 
spire  building  better  than  his  contemporaries. 
We   may   here   notice    the   Toraccio    of  Cremona,  though  not  an 

ecclesiastical  edifice.     This  is  a  monumental  tower  commenced  in  1296 


-V- 


Bf* 


lltii! 


1^ 


f 


!^:-^. 


640.    Campanile  at  Florence. 

From  Gallliab.iud.     Scale  50  ft 

to  1  in. 


Chap.  II.  J'ORCHES.  789 

to  commemorate  a  peace  made  between  Cremona  and  the  neighbouring 
states  after  a  long  and  tedious  contest  for  supremacy.  It  partakes, 
therefore,  like  those  of  St.  Mark's  and  Modena,  more  of  the  character 
of  a  civic  belfry  than  of  a  church  tower,  such  as  those  previously 
mentioned.  It  is  the  highest  and  largest,  and  consequently,  according 
to  the  usual  acceptation  of  the  term,  the  finest,  of  Italian  towers.  Its 
whole  lieioht  is  396  ft.,  about  two-thirds  of  which  is  a  square  ungainly 
mass,  witliout  either  design  or  ornament  of  any  importance.  On  this 
is  placed  an  octagon  and  spire,  which,  though  in  themselves  perhaps 
the  best  specimens  of  theii-  class  in  Italy,  have  very  little  connexion 
either  in  design  or  dimensions  with  the  tower  to  which  they  are 
added. 

Porches. 

Another  feature  very  characteristic  of  the  Gothic  style  in  Italy  is 
to  be  found  in  the  porches  attached  to  the  churches.  Generally  they 
are  placed  on  the  flanks  and  form  side  entrances,  and  in  most  instances 
they  were  added  after  the  completion  of  the  body  of  the  building,  and 
consequently  seldom  accord  in  style  with  it.  One  has  already  been 
illustrated  as  attached  to  the  church  at  Asti  (woodcut  No.  623) ; 
another,  belonging  to  the  church  of  Sta.  Maria  dei  Fiori  at  Florence, 
is  an  integral  and  beautiful  part  of  the  design. 

One  of  the  most  characteristic  specimens  of  the  class  in  all  Italy  is 
that  attached  to  the  northern  flank  of  the  church  of  Sta,  Maria  Mag- 
giore  at  Bergamo  (woodcut  No.  641).  The  principal  archway  and  the 
doorway  within  it  are  circular  in  form,  although  built  in  the  middle 
of  the  14th  century,  and  ornamented  with  trefoils  and  other  details  of 
the  age.  Above  this  are  three  trefoiled  arches,  the  central  one  con- 
taining an  equestrian  statue  of  a  certain  Duke  Lupus,  at  whose  expense 
probably  the  porch  was  built,  and  above  this  is  a  little  pagoda-like 
pavilion  containing  statues  of  the  Virgin  and  Child. 

The  whole  design  is  so  unconstructive  that  it  depends  more  on  the 
iron  ties  that  are  everywhere  inserted  to  hold  it  together  than  on  any 
system  of  thrusts  or  counterpoises,  which  a  true  Gothic  architect 
would  certainly  have  applied. 

The  two  main  pillars  rest  on  lions'  backs,  as  is  universally  the  case 
in  these  porches  throughout  Italy,  though  rarely  found  anywhere  else. 
•  Like  most  of  these  Italian  porches,  this  one  will  not  stand  criti- 
cism as  a  purely  architectural  object,  but  its  details  are  so  beautiful 
and  its  colour  so  fascinating  that  it  is  pleasing  in  spite  of  all  its  de- 
fects of  design,  and  is  more  characteristic  of  the  truly  native  feeling 
shown  in  the  treatment  of  the  pointed  style  of  architecture  than  the 
more  ambitious  examples  which  were  erected  under  direct  foreign 
influence. 


790 


ITALIAN  AUCUITKCTURE. 


Book  VI 


641. 


North  Porch,  Sta.  Maria  Maggiore,  Bergamo. 
From  Street's  Bridi  and  Marble  of  the  Middle  Ages. 


Civic  Buildings. 

The  free  towns  of  Italy  required  civic  buildings  almost  to  the  same 
extent  as  the  contemporary  examples  in  Belgium,  though  not  quite  of 
the  same  class.     Their  commerce,  for  instance,  did  not  require  trade- 


Chap.  H.  CIVIC  BUILDINGS.  791 

halls,  but  no  town  was  witliont  its  town  hall  or  palazzo  pnblioo  and 
belfry.  The  greater  intrinsic  difficulty  of  buildings  of  this  class,  as 
compared  with  churches,  has  already  been  pointed  out.  It  cannot 
therefore  be  expected  that  the  Italians  who  failed  in  the  easier  task 
should  have  succeeded  in  the  harder.  The  town  hall  at  Sienna  is 
perhaps  the  best  existing  example,  most  of  the  others  having  been  so 
altered  that  it  is  difficiilt  to  judge  of  their  original  effect.  This  must 
be  pronounced  to  be  a  very  poor  architectural  pciformance,  fiat  and 
unmeaning,  and  without  any  lines  or  style  of  ornament  to  group  the 
windows  together  into  one  composition,  so  that  they  are  mere  scat- 
tered openings  in  the  wall. 

That  at  Perugia  seems  originally  to  have  been  better,  but  is  now 
greatly  disfigured.  At  Florence  the  Palazzo  Vecchio  is  more  of  a 
feudal  fortalice  (required,  it  must  be  confessed,  to  keej)  the  turbulent 
citizens  in  order)  than  the  municipal  palace  of  a  peaceful  community. 
In  Fcrrara  and  other  cities  the  palazzo  publico  is  really  and  virtually 
a  fortress  and  nothing  else. 

At  Piacenza  it  consists  of  a  range  of  bold  pointed  stone  arches, 
supporting  an  ujiper  story  of  brick,  adorned  with  a  range  of  circular- 
headed  windows,  richly  ornamented,  and  a  pleasing  specimen  of  the 
mode  in  which  the  Italians  avoided  the  difficulty  of  filling  the  uppei- 
parts  of  their  windows  with  tracery  which  they  never  liked,  and  at 
the  same  time  rendered  them  ornamental  externally. 

At  Padua  and  Viccnza  are  two  great  halls  supported  on  arcades, 
in  intention  similar  to  that  of  Piacenza,  but  far  from  possessing  its 
beauty.  That  at  Padua  remains  in  all  its  pristine  ugliness,  as  hideous 
an  erection  as  any  perpetrated  in  the  middle  ages.  The  hall  is  one  of 
tlie  largest  in  Europe,  measuring  2J:0  ft.  in  length  by  84  in  width 
(Westminster  Hall  being  238  x  07),  but  wholly  without  ornament  or 
beauty  of  proportion.  Externally  the  arcades  that  are  stuck  to  its 
sides  do  not  relieve  its  mass,  and  are  not  beautiful  in  themselves. 
That  at  Vicenza,  though  originally  very  similai-,  has  been  fortunate 
in  having  its  outside  clothed  in  one  of  Palladio's  most  successful  de- 
signs, being  the  only  instance  perhaps  in  which  an  addition  of  that 
age  and  style  has  improved  a  building  of  the  Gothic  period.  Com- 
paring this  hall  as  it  now  stands  with  that  at  Padua,  it  must  be  ad- 
mitted that  the  Italians  were  perfectly  correct  in  abandoning  their 
Gothic  for  the  revived  classical  style,  the  improvement  being  appa- 
rent on  the  most  cursory  inspection. 

A  number  of  the  town-halls  or  Brolettos  in  the  smaller  towns  still 
remain  unaltered,  or  nearly  so,  and  retain  all  the  peculiarities  of  their 
original  design.  The  Palace  of  the  Jurisconsults  at  Cremona  for  in- 
stance (woodcut  No.  642)  only  requires  its  lower  arcades  to  be  again 
opened  to  present  all  the  original  features  of  its  design,  which  resembles 
in  almost  every  respect  that  of  Piacenza  above  mentioned,  except  that 
the  latter  has  5  arches  below  and  (!  windows  above,  instead  of  2  and  8 
as  here  shown.  This  building  is  wholly  of  brick,  like  most  otlier  civic 
buildings  in  the  north  of  Italy.  Sometimes,  as  at  Piacenza,  they  are  of 
stone  below  and  brick  in  the  upper  stories.     Sometimes,  though  rarely, 


792 


ITALIAN  ARCHITECTURE. 


Book  VI. 


642. 


Palace  of  the  Jurisconsults  at  Cremona. 


they  are  entirely  faced  with  party-coloiu-ed  marbles  like  the  Broletto 
at  Como  (woodcut  No.  643),  which,  though  not  extensive,  is  a  very 
beautiful  specimen  of  the  best  form  of  civic  architecture  of  the  best 
age  in  the  north  of  Italy,  and  standing  as  it  does  between  the  cathedi'al 
on  the  one  hand  and  its  own  rude  old  belfry  on  the  other,  it  makes  up 
an  extremely  pleasing  group.' 

One  of  the  most  important  buildings  of  this  style  is  the  Great 
Hospital,  Milan.  It  was  founded  in  the  year  1156,  and  consequently 
belongs  to  an  age  when  the  style  was  dpng  out.  It  still  retains  more 
of  the  pointed  style  and  of  Gothic  feeling  than  could  have  been  found 
in  any  city  farther  south,  or  in  any  one  less  impregnated,  as  it  were, 
with  Gennan  blood  and  feeling. 

Almost  all  the  windows  in  the  part  onginally  erected  are  pointed 


•  Similar  buildings  at  Bergamo,  Brescia,      North  of  Italy,  from  which  the  two  last  illus- 
and  Jlonza  are    illustrated  in   JNIr.   Street's      trations  are  borrowed, 
beautiful     work  on  the  Architecture  of  the 


Chap.  II. 


CIVIC  BUILDINGS. 


793 


in  form,  und  divided  by  iiuillions.  Their  principal  ornmnout  consists 
in  j;-arlands  of  flowers  interspersed  with  busts  and  masks  and  figures  of 
('lipids  which  surround  them,  or  run  along  the  string-courses  of  the 
building.     The  whole  of  these  are  in  terra  cotta,  and  make  up  a  style 


of  ornamentation  as  original  as  it  is  beautiful.   It  is  besides  purely  local, 

and  far   superior   to   the   best  copies   of  Northern    details,   or  to  the 

misapplied  forms  of  Gothic  architecture  which  are  so  common  in  Italy. 

There  is  perhaps  nothing  in  the  north  of  Italy  so  worthy  of  admi- 


794 


ITALIAN  ARCHITECTURE. 


Book  VI. 


ration,  and  consequently  of  study,  as  tlic  way  in  which  they  used 
moulded  hrieks  of  various  kinds  for  the  decoration  especially  of  tlic 
civic  buildings,  but  also  occasionally  in  their  churches.  Sublimity  is 
not  perhaps  to  be  attained  in  brick-work  ;  the  parts  are  too  small ;  and 
if  splendour  is  aimed  at,  it  may  require  some  larger  and  more  costly 
material  to  produce  the  desired  effect ;  but  there  is  no  beauty'  of  detail 
or  of  design  on  a  small  scale  that  may  not  be  obtained  by  the  use  of 
moulded  bricks,  and  they  are  in  themselves  far  more  durable,  and,  if 
carefully  birnit,  retain  their  sharpness  of  outline  longer,  than  most 
kinds  of  stone. 

The  most  common  way  in  which  the  Italians  used  this  material 
was  by  repeating  ai'ound  their  openings  or  along  their  cornices  small 
copies  of  Gothic  details,  as  in  this  example  fi-om  a  circular  window  in 
the  Broletto   at   Brescia    (woodcut  Xo.  644).     Where  the  details  are 


644. 


Onianicntal  Brickwork  from  the  Broletto  at  Brescia.    From  Street's  Work. 


small  and  designed  with  taste,  the  eifect  is  almost  equal  to  stone ;  but 
where  the  details  are  themselves  on  a  large  scale,  as  is  sometimes 
the  case,  the  smallness  of  the  materials  becomes  apparent.  Even 
in  this  example  the  semi-quatrefoils  of  the  principal  band  are  per- 
haps too  large  for  the  other  details,  but  not  so  much  so  as  to  be 
ofiensive. 

Though  not  so  rich,  the  effect  is  almost  as  pleasing  where  the  brick 
is  merely  moulded  on  its  edge  without  any  very  direct  repetition  of 
Gothic  details,  as  in  the  upper  part  of  the  window  shoAvn  in  woodcut 
No.  645,  from  the  cathedral  of  Monza.  "Where  great  depth  is  given  so 
as  to  obtain  shadow,  and  long  tiles  are  used  for  the  upper  arch  as  was 
done  by  the  Eomans,  an  appearance  of  strength  and  solidity  is  given 
to  the  constrviction  unsui-passed  by  that  obtained  in  any  other  material. 

Perhaps  the  most  pleasing  application  of  terra  eotta  ornaments  is 
where  bricks  of  different  colours  are  used  so  as  to  produce  by  variety 
of  pattern   that  relief  which  cannot   so  well  be  given  by  depth  of 


Chap.  II. 


CIVIU  BUILDINGS. 


795 


shadow,  and  which  is  besides  a  perfectly  legitimate  mode  of  oniamcut 
when   so  small  a  material 


is  used,  and  when  beauty 
only,  not  sublimity,  is 
aiiued  at. 

This  is  sometimes  pro- 
duced in  Italy  by  intro- 
ducing stone  of  a  different 
colour  among  the  bricks, 
as  in  the  two  examples 
from  Verona  (woodcuts 
Nos.  640,  647)  ;  and  where 
this  mode  of  ornamentation 
is  carried  throughout  the 
building,  the  effect  is  very 
pleasing.  It  is  difficult, 
however,  to  know  how  to 
proportion  the  two  mate- 
rials to  one  another  so  as 
to  produce  exact!  y  the  effect 
aimed  at,  and  seldom  that 
the  objection  does  not  pre- 
sent itself  of  too  much  or 
too  little  stone  being  used. 
This  want  of  shadoAV  in 
brick  architecture  is  most 
felt  in  the  cornices,  where 
sufficient  projection  cannot 


645. 


Window  from  the  Cathedral  of  Monza. 
From  Street's  Work. 


be    obtained.     The    defect 

might  be  easily  and  legitimately  got  over  by  the  employment  of  stone 
in  the  upper  members  of  the  cornice,  but  this  expedient  seems  never 
to  have  been  resorted  to. 


6i6. 


Wiiiduw  from  Verona. 


C47.     \Viiiduw  from  Verona.    From  Street's  "Work. 


There  are  few  of  these  brick  buildings  of  the  north  of  Italy  which 
are  not  open  to  just  criticism  for  defects  of  design  or  detail,  but  this 


796  ITALIAN  ARCHITECTUKE.  Book  YI. 

may  arise  from  the  circumstance  that  they  all  belong  to  an  age  when 
the  Italians  were  nsing  a  style  which  was  not  their  own,  and  employ- 
ing ornaments  of  which  they  nnderstoocl  neither  the  origin  nor  the 
application.  The  defects  certainly  do  not  appear  to  be  at  all  inherent 
in  the  material,  and,  judging  from  the  experience  of  the  Italians,  were 
we  to  make  the  attempt  in  a  proper  spirit,  we  might  create  with  it  a 
style  far  surpassing  anything  we  now  practise. 

Venice. 

The  most  beautiful  specimens  of  the  civil  and  domestic  architecture 
of  Italy  in  the  Gothic  period  are  probably  to  be  found  in  Venice,  the 
richest  and  most  peaceful  of  Italian  cities  during  the  middle  ages.  It 
is  necessaiy  to  speak  of  the  buildings  of  Venice,  or,  more  correctly, 
of  the  Venetian  Province,  by  themselves,  the  architecture  being  cpiite 
distinct  both  in  origin  and  character  from  any  other  found  in  Northern 
Italy.  It  was  not  derived  from  the  old  Lombard  round  Gothic,  but 
from  the  richer  and  more  graceful  Byzantine.  Tme  to  its  parentage, 
it  partook  in  after  ages  far  more  of  the  Southern  Saracenic  style  than 
of  the  Northern  Gothic,  still  it  cannot  be  classed  as  either  Byzantine 
or  Saracenic,  but  only  as  Gothic  treated  with  an  Eastern  feeling,  and 
enriched  with  many  details  borrowed  from  Eastern  styles. 

The  largest  and  most  prominent  civic  example  of  Venetian  Gothic 
is  of  course  the  Doge's  Palace  (woodcut  No.  648),  a  building  which  all 
the  world  agTeed  till  very  lately  in  thinking  very  ugly,  though  an 
attempt  has  recently  been  made  to  exalt  it  above  the  Parthenon,  and 
all  that  was  great  and  beautiful  in  Greece,  Egypt,  or  Gothic  Europe. 
There  are  indeed  few  buildings  of  which  it  is  so  difficult  to  judge 
calmly  as  of  this,  situated  as  it  is,  attached  to  the  basilica  of  St. 
Mark's,  facing  the  beautiful  library  of  Sansovino,  and  looking  on  the 
one  hand  into  the  piazza  of  St.  Mark's,  and  on  the  other  across  the 
water  to  the  churches  and  palaces  that  cover  the  islands.  It  is  the 
centre  in  fact  of  the  most  beautiful  architectural  group  that  adonis  any 
city  of  Europe  or  of  the  world — richer  than  almost  any  other  building 
in  historical  associations,  and  hallowed,  especially  to  an  Englishman, 
by  the  noblest  poetry  in  the  world.  All  this  spreads  a  halo  over  and 
around  the  building,  that  may  furnish  ample  excuses  for  those  who 
blindly  praise  even  its  defonnities.  The  soberer  judgment  of  the  critic 
must  not  be  led  astray  by  such  feelings,  and  while  giving  credit  for 
the  picturesque  situation  of  this  building  and  a  certain  grandeur  of 
desigTi,  must  wholly  condemn  the  execution  of  it.  The  two  arcades 
which  constitute  the  base  are  from  their  extent  and  from  the  beauty 
of  their  details  as  fine  as  anything  of  their  class  executed  during  the 
middle  ages.  There  is  also  a  just  and  pleasing  proportion  between 
the  simple  solidity  of  the  lower,  and  the  aiiy — perhaps  slightly  fantastic 
— lightness  of  the  upper  of  these  arcades.  Had  what  appears  to  have 
been  the  original  design  been  carried  out,  the  building  would  rank 
high  with  the  Alhambra  and  the  palaces  of  Persia  and  India,  but  in 
an  evil  hour  it  was  discovered  that  larger  rooms  were  required  for  the 


Chap.  II. 


VENICE. 


7 'J  7 


ineetini^s  uf  tlie  council  and  foi-  state  occasions  than  were  originallv 
euntemplated,  and  the  iipper  wall,  which  was  intended  to  stand  on  the 
back  wall  of  the  arcades,  was  brought  forward  even  with  the  front, 
overpowering  the  part  below  by  its  ill-proportioned  mass.  This  upper 
story  too  is  far  from  being  beautiful  in  itself.  The  windows  in  it  are  far 
too  few,  are  badly  spaced,  squat,  and  imgraceful ;  and  the  introduction 
of  smaller  windows  and  cii"cles  mars  what  pretensions  it  might  have  to 
simplicity  without  relieving  its  plainness.     Its  principal  ornaments  are 


648.    Central  Part  of  the  Fa9ade  of  the  Doges  Palace,  Venice.    From  Cicugnaru. 


50  feet. 


I 


I 


two  great  windows,  one  in  the  centre  of  each  face.  These  are  not 
graceful  objects  in  themselves,  and  having  nothing  in  common  with 
the  others,  they  look  too  like  insertions  to  produce  an  entirely  satisfac- 
tory effect.  The  pierced  parapet  too  is  poor  and  ilimsy,  seen  against 
the  sky.  Had  it  been  placed  as  crowning  the  upper  arcade,  and  backed 
by  the  third  story,  it  would  have  been  as  pleasing  as  it  is  now  poor. 
Had  the  upper  story  been  set  back,  as  was  probably  originally  de- 
signed, or  had  it  been  placed  on  the  ground  and  the  arcades  over  it ; 
liad,  in  short,  any  arrangement  of  the  parts  been  adopted  but  the  one 


798 


ITALIAN  ARCHITECTURE. 


I'.OOK   VI. 


that  exists,  this  might  liavc  heoii  a  far  more  hoantifnl  Imihling  than  it 
is.  One  thing  in  this  pahxce  is  worth  remarking  before  leaving  it — that 
almost  all  (he  Ixvanty  ascribed  to  its  upper  story  arises  from  the  poly- 
chromatic mode  of  decoration  introduced  by  disposing  pieces  of  different 
coloured  marbles  in  diaper  patterns.  This  is  better  done  here  than  in 
Florence  ;  inasmuch  as  the  slabs  are  built  into,  not  stuck  on.  The 
admiration  which  it  excites  is  one  more  testimony  to  the  feet  that 
when  a  building  is  coloured  either  internally  or  externally,  ninety- 
nine  people  in  a  hundred  are  willing  to  overlook  all  its  faults,  and  to 
consider  that  beautiful  which  without  the  adjunct  of  colour  they  would 
unanimously  agTce  in  condemning. 

A  better  specimen  of  the  style,  because  erected  as  designed,  and 
remaining  nearly  as  erected,  is  the  Ca  d'  Oro  (woodcut  No.  649),  built 


UBM^t^^vt.^t.1cUtMvti.t>t*W  t>t  ^  iiijAM^t 


649. 


Vh  d'  Oro,  Venice.    From  Cicognara. 

10  20  30  40  50  fei^l. 


about  1350,  or  nearly  contemporary  with  the  ducal  palace.  It  has  no 
trace  of  the  high  roofs  or  aspiring  tendencies  of  the  Northern  buildings 
of  the  same  age,  no  boldly  marked  buttresses  in  strong  vertical  lines, 
but  on  the  contrary  flat  roofs  and  horizontal  divisions  pervade  the 
design,  and  every  part  is  ornamented  with  a  fanciful  richness  far  more 
characteristic  of  the  luxm-ious  refinement  of  the  East  than  of  the  manlier 
appreciation  of  the  highei-  qualities  of  art  that  distinguished  the  con- 
temporary erections  on  this  side  of  the  Alps. 

The  palaces  known  as  the  Foscari  and  Fisani  are  very  similar  in 
design  to  that  of  Ca  d'  Oro,  though  less  rich  and  less  happy  in  the 
distribution  of  the  parts :  but  time  has  lent  them  that  colour  which 
was  an  inherent  part  of  the  older  design,  and  they  are  so  beautiful 
and  so  interesting  that  it  is  hard  to  criticise  even  their  too  apparent 
defects  as  works  of  art.  Most  of  the  faults  that  strike  us  in  the 
buildings  of  Venice  arise  from  the  defective  knowledge  which  they 
betray   of  the   constnictive  principles   of  the  style.     The   Venetian 


ClIAP.  II. 


CIVIC  BUILDINGS. 


790 


aivliitects  liad  not  liecn  brought  up  iu  the  liavfl  school  of  pi-actioal 
uxpevicnce,  nor  thor(m<<;liIy  grounded  in  construction,  as  the  Northern 
architects  wore  by  the  necessities  of  the  large  buildings  which  they 
Avere  erecting.  The  Venetians,  on  the  contrary,  merely  culled  details 
because  they  were  pretty,  and  used  them  so  as  to  be  picturesque  in 
domestic  edifices, 
where  construction 
was  a  very  secon- 
dary consideration, 
and  convenience 
everything.  For 
instance,  the  win- 
dow here  shown 
(woodcut  No.  650) 
must  give  to  the 
building  to  which 
it  is  attached  an  ap- 
pearance of  weak- 
ness and  insecurity 
quite  inexcusable 
in  spite  of  its  pic- 
turesqueness  exter- 
nally, and  its  con- 
venience with  refe- 
rence to  the  inte- 
rior. 

The  same  re- 
mark applies  to  the 
screen  (woodcut 
No.  651)  above  the 
Ponte  del  Paradiso, 
which,  thougli  use- 
less and  uncon- 
stmctive  to  the  last 
degree,  by  its  pictu- 
resque design  and 
elegant  details  ar- 
rests all  travellers, 
and  it  is  impossible 
to  see  without  ad- 
miiing  it,  though, 
if  imitated  else- 
where, or  copied  in 
another  place,  it 
could  hardly  bo 
saved  from  being  ridiculous. 

Ijike  the  last  example  it  is  surrounded  by  a  curious  dental  mould- 
ing which  is  peculiar  to  Venice,  and  which,  though  scarcely  ever  found 
elsewhere,  is  hardly  ever  omitted  round  any  of  the  arches  of  the  churches 
or  private  buildings  of  this  city  during  the  pointed  Gothic  period. 


650. 


Angle  Window  at  Venice.    From  Street. 


800 


ITALIAN  ARCHITKCTURE. 


Book  VT. 


There  are  besides  these  many  smancn-  palaces  and  lionses  of  the 
Gothic  aft'c,  all  more  or  less  beautiful,  and  all  presenting  some  detail 
or  some  happy  arrangement  well  worthy  of  study,  and  in  general  more 
refined  and  more  beautiful  than  is  to  be  found  in  the  rude  but  pictu- 
resque dwellings  of  the  burghers  of  Bruges  or  Xuremberg. 

The  mixed  Gothic  style  which  we  have  been  describing  appears  to 
have  exerted  a  considerable  eftect  on  the  subsequent  palatial  architec- 
ture of  Venice.  The  arrangement  of  the  facades  remained  nearly  the 
same  down  to  a  very  late  period  :  and  even  when  the  so-called  return 
to  classical  forms  took  place,  many  details  of  the  previous  stjde  were 
here  retained,  which  was  not  the  case  in  any  other  ]iai-t  of  Europe. 


651. 


Ponte  del  Paradiso,  Venice.    From  Street. 


Chai'.  III.  BUILDINGS  IN  NAI'LKS,  AMALFl,  &c.  dUl 


CHAPTER   111. 
NAPLES   AND   APULIA. 


CONTENTS. 


Buikliugs   iu   Naples,    Amalfi,    &c.  —  San   Nicola,   Bari  —  Cathedrals  of  Bittouto, 
Matera,  and  Trani  —  Churches  at  Briudisi  —  Genei-al  remarks. 


CHRONOLOGY. 

DATE3.   [  DATES. 

The  Nonuans  enter  Italy a.u.  lOlS     William  II.,  surnamed  the  Good  .     .     .  a.d.  1166 


Conquer  Apulia  from  the  Greeks  1043 

Attack  the  Saracens  in  Sicily      .  1U61 


Tancred 1189 

Frederic  Hohenstaufen  of  Germany   .     .  119? 

Conrad 1250 

Conradin 1254 


Conquest  of  Sicily  completed  by  Roger 

de  HautevillG 1090 

Roger  JI 1101  I  Charles  I.,  first  Angioviue  King  of  Naples          1266 

William  I.,  surnamed  the  Wicked      .     .  1153  !  Rend,  last  Anglovine  King  of  Naples.     .          1435 


Very  little  is  known*  of  the  medijeval  architecttire  of  the  kingdom  of 
Naples,  though  it  can  hardly  be  doubted,  from  the  wealth  and  im- 
portance of  many  of  the  cities  within  its  limits  in  the  middle  ages, 
that  a  considerable  number  of  churches  must  have  been  erected  during 
that  period,  many  of  which  must  still  remain.  The  extent  and  interest 
of  the  classical  remains  in  this  district  are  so  great  that  the  Ckristian 
antiquities  have  hitherto  been  very  much  overlooked,  but  their  exami- 
nation would  well  reward  the  trouble  of  any  one  who  would  undertake 
the  task. 

The  prosperity  and  population  of  the  capital  have  increased  so  im- 
mensely since  the  Gothic  period,  that  all  the  churches  there  have  either 
been  rebuilt  or  so  altered  as  to  present  few  features  of  interest  now. 
Many  possess  fragments  of  the  pointed  style  of  France,  which  was 
introduced  by  the  house  of  Anjou.  It  is,  however,  even  more  essenti- 
ally a  foreign  introduction  here  than  the  Tedesco  of  the  north  of  Italy, 
and  used  by  a  people  who  understood  neither  its  principles  nor  their 
application.     It  presents  few  features  worthy  of  study  or  admiration. 

On  the  south  side  of  the  bay,  the  cathedrals  of  Amalfi  and  Eavello 
still  retain  parts  of  their  original  stmctures  sufficient  to  show  what 
they  originally  were,  and  to  make  us  regret  the  alterations  which  have 
so  completely  destroyed  the  general  eftect  of  their  rich  and  varied  archi- 
tecture. Their  style  may  be  characterised  as  Eomanesque,  with  a  con- 
siderable admixture  of  Greek  elegance  of  ornament  and  of  Saracenic 
richness  in  colouring — a  combination  which,  especially  in  that  climate, 
is  productive  of  the  highest  class  of  architectural  beauty. 

The  frequent  earthquakes  of  Calabria  have  destroyed  nearly  all  the 
monuments  not  only  of  the  Normans,  but  of  the  previous  centuries,  in 

3  F 


802  NEAPOLITAN  ARCHITECTURE.  Book  VI. 

that  rich  and  imjiortant  province;  and  nothing  now  roniaina'of  the 
Norman  capital  of  IMileto  Imt  the  iiiassivo  foundations  of  the  chnrches 
and  palaces,  witli  a  few  fragments  of  cohnnns,  and  the  sarcophagi  which 
are  said  to  have  contained  the  remains  of  Count  Eoger  of  Sicily  and  of 
his  wife  Eremberga. 

The  eastern  province  of  Apulia'  seems  to  have  escaped,  to  a  great 
extent,  the  two  ecclesiological  evils  of  over-population  and  of  earth- 
quakes, and  consequently  retains  many  buildings  of  very  great  interest. 
During  the  whole  period  which  elapsed  from  the  time  of  Justinian 
nearly  to  the  Norman  conquest,  Apulia  seems  to  have  shared  in  all 
the  troubles  that  oppressed  Italy  in  the  dark  ages.  Under  the  suc- 
cessive rule  of  the  Gothic  kings  of  Eavenna,  the  Lombard  dukes  of 
Benevento,  the  German  Othos,  and  of  the  Greek  emperors  of  Constan- 
tinople, she  had  little  time  for  cultivating  the  arts  of  peace.  Her 
greatest  misfortunes  arose  from  the  ravages  of  the  Saracens  in  the  9th 
century.  They  never  settled,  to  any  extent,  within  her  boundaries, 
but  burnt  and  destroyed  her  cities,  and  plundered  everything  within 
their  reach.  On  their  expulsion,  in  the  beginning  of  the  10th  century, 
she  enjoyed  her  first  period  of  repose  and  prosperity  under  the  Greek 
Catapani  till  the  time  of  the  Norman  invasion  in  the  beginning  of  the 
11th;  and  it  Avas  probably  during  this  period  that  the  cathedral  at 
Matera  and  others  of  the  older  churches  were  erected,  though  by  far 
the  greater  number  of  those  now  found  in  the  province  belong  to  the 
age  of  the  Norman  and  Angiovine  djniasties. 

It  is  by  no  means  clear  whether  any  churches  more  ancient  than 
the  Saracenic  invasion  still  remain.  Many  of  coiirse  did  exist  in  the 
interior  which  could  not  have  been  destroyed  by  these  conquerors,  and 
they  may  consequently  still  be  found  when  looked  for.  At  all  events 
their  influence  is  felt  in  those  which  succeeded,  as  the  style  of  Apulia 
is  remarkably  local  in  its  character,  and  must  have  grown  up  in  the 
province  where  it  is  found. 

One  of  the  most  important  and  best  known  churclies  in  this  pro- 
vince is  that  of  San  Nicola  at  Bari,  founded  in  1087,  at  which  time  the 
relics  of  its  patron  saint  were  brought  from  Myra  in  Lycia.  It  was 
dedicated  in  1103. 

Internally  the  church  is  divided  into  three  aisles  by  screens  of 
columns  of  singularly  classical  design.  The  side  aisles  are  vaulted. 
The  central  aisle  is  spanned  at  irregular  intervals  by  great  arches, 
which  seem  to  have  supported  the  roof  in  some  manner  not  now  easily 
intelligible  in  consequence  of  alterations  which  have  destroyed  its 
effect  to  a  considerable  extent. 

Externally  it  remains  nearly  perfect,  and  its  western  enti-ance 
(woodcut  No,  C)52)  is  a  highly  characteristic  example  of  the  style. 
The  doorway  is  flanked  by  two  elegant  pillars,  very  similar  to  those 


'  The     three    woodcuts,    nnd   nearly   all  avt.     There  is  also  a  very  beautiful  work  by 

the    information  contained    in   this    chapter,  the  Due  de  Luynes,  entitled  '  IJecherches  sur 

were  kindly  furnished   by  Mr.  A.  J.  Roberts  I'Histoirc  des  Normands  ct  de  la  Maison  de 

<i;\vven,  who  is  one  of  the  very  few  persons  Souabe  dans  In  Pouilli'.' 
wlio  have  made  a  special  study  of  Apulian 


Chap.  111. 


SAN  NICOLA,  BAlil. 


8u;5 


at  Alet  (woodcut  No.  470),  Avhicli  here  support  the  usual  Italian  hood. 
These  pillars  rest  on  monsters  more  important  and  more  conventional 
than  any  found  in  similar  situations  in  the  north  of  Italy.  On  either 
side  of  the  doorway  are  two  pillars  borrowed  from  some  classical 
huildino-,  and  used  merely  as  ornaments. 

Another  doorway  almost  equally  beautiful  adorns  the  southein 
front,  near  its  eastern  end.  Though  less  ornamented  o\itside,  it  is  so 
<leep  as  to  contain  a  canopied  tomb  of  very  rich  and  elaborate  work- 
manship. 

The  east  end  is  flat  and  square  externally,  the  space  between  the 
circular  apse  internally  and  the  square  angles  being  occupied  by  the 
sacristies. 

The  cathedral  at  Baii  is  a  church  of  earlier  date  than  that  of  ,San 


=*i   r^^l^V  .^ 


652.     West  front  uf  the  Church  of  San  Nicola  in  Hari.    From  a  sketch  by  A.  J.  K.  Oawon,  l''sfi. 

:3  F  2 


804 


APULIAN  ARCHITECTURE. 


Book  VI. 


Nicola,  but,  having  been  destroyed  by  tlic  Saracens,  was  rebuilt  and 
dedicated  anew  in  1171.  It  is  of  rather  larger  dimensions  than  San 
Kicola ;  like  it,  the  eastern  end  is  flat  externally,  with  one  veiy  lichly 
ornamented  window  in  the  centre  with  pillars  supported  on  elephants. 
This  end  is  flanked  by  two  towers  of  very  elegant  form  and  detail,  and 
nearly  200  ft.  in  height,  between  which  is  a  small  cupola  of  Byzantine 
design  on  the  intersection  of  the  nave  and  transepts.  It  has  been  a 
good  deal  altered  internally  and  also  on  its  principal  facades,  and  has 
consequently  attracted  much  less  attention  than  it  deserves. 


653. 


West  front  of  Cathedral  Church  of  Bittonto.     A.  J.  R.  G.  del. 


The  ayjse  of  a  small  chapel  of  the  same  age  as  San  Nicola  is  shown  i 
on  the  left  of  the  last  woodcut,  and  many  other  fragments  of  the  same  ■ 
ago  exist  in  the  town,  but  none  so  important  as  those  described  above. 


CiFAi'.  TIT.       CATIIET)RALS  OF  BITTONTO  AND  MATEHA. 


805 


The  catliedral  at  Bittonto  is  even  richer  and  more  ornate  than  the 
two  churches  at  Bari.  Like  them,  it  is  a  three-aisled  basilica  with  a 
N(|nare  east  end,  with  the  same  peculiar  ornament  of  two  windows 
with  pillars  supported  by  elephants.  Its  west  front  (woodcut  No.  653) 
may  be  taken  as  the  type  of  almost  all  those  of  this  province.  Over 
the  richly-sculptured  porch  are  two  windows  filled  with  an  imperfect 
kind  of  tracer}^  and  above  these  a  circular  Avindow  of  rich  design  sur- 
mounted by  a  very  ornamental  hood.  The  same  arrangement  on  about 
the  same  scale  occurs  at  Bari,  Altamura,  and  Euvo ;  and  on  a  some- 
what smaller  scale  in  the  churches  of  Gallatina,  Brindisi,  and  Barletta. 
The  great  and  poiadiar  beauty  of  the  cathedral  at  Bittonto  is  its  south 
front,  one  angle  of  which  is  shown  in  the  last  woodcut ;  but  it  becomes 
richer  towards  the  east,  where  it  is  adorned  with  a  portal  of  great 
mngnificence  and  beauty.  The  richness  of  its  open  gallery  under  what 
was  the  roof  of  the  side  aisles  is  unsurpassed  in  Apulia,  and  probably 
by  anything  of  the  same  kind  in  Italy. 


W^  ,c 


654.  \\'mdow  in  the  south  side  of  the  Cathedral  Church  in  Matcra.    A.  J.  R.  G.  del. 


The  cathedral  church  at  Matera  is  of  almost  equal  importance  with 
those  just  mentioned,  with  this  peculiarity,  that  its  west  front  is  plain 
and  unimportant,  and  all  the  decoration  has  been  lavished  on  its  south 
front,  which  faces  the  piazza.  There  are  two  entrances  on  this  face, 
that  towards  the  east  being  as  usual  the  richest.  Above  these  are  a 
range  of  riclily-ornamentcd  windows,  and  a  little  out  of  the  centre  is 


806  APULIAN  AKCIllTECTUKE.  Hook  Yl. 

one  far  moic  8i)lcn(li(l  tliau  the  otliers  (woodcut  No.  054),  I'ruiu  wliicli 
it  is  said  iliat  letters  and  rescripts  from  the  (jlreek  patriarcli  at  ('oii- 
staiitiiiuple  used  to  be  read.  It  is  perhaps  as  elaborate  a  s])ecimen  of 
the  mode  of  decoration  used  in  these  clnirche.s  as  can  be  found  in  the 
province. 

The  ago  of  this  church  is  probably  about  the  year  1000,  and  con- 
sequently anteiior  to  the  Norman  conquest.  Its  dimensions  are  1 80  ft. 
long  by  GO  in  width.  Its  campanile  is  175  ft.  in  height.  Though 
perhaps  richer  in  decoration,  it  appears  to  be  smaller  than  most  othei' 
cathedral  churches  in  the  province. 

The  cathedral  church  at  Trani  seems  to  be  larger  and  more  important 
than  those  mentioned  above,  and  possesses  a  campaiule  seven  stories 
in  height,  the  upper  being  an  octagon  surmounted  by  a  low  spire  ;  it 
is  apparently  the  loftiest  in  the  province.  The  most  interesting  features 
about  this  church  are  the  doors  of  bronze  that  ornament  its  principal 
portal.  These  were  made  in  11  (]0,  and  either  for  beauty  of  design  or 
for  the  exuberance  and  elegance  of  their  oraaments  are  unsurpassed  by 
anything  of  the  kind  in  Italy,  or  probably  in  any  pail  of  the  world. 
There  is  another  pair  of  doors  of  almost  equal  beauty  belonging  to  the 
cathedral  at  Troja,  made  in  11  lit,  and  a  third,  which  are  still  in  a  very 
perfect  state,  which  were  constructed  at  Constantinople  in  the  year 
1076  for  the  church  of  Monte  San  Angelo :  they  are  consequently  con- 
temporary with  those  of  Sta.  Sophia,  Novogorod,  and  those  of  San 
Zenonc,  ^"erona,  and  so  similar  in  design  as  to  form  an  interesting  series 
for  comparison. 

Other  churches  in  the  same  style  as  those  mentioned  above  are 
found  at  Canosa,  Giovenazzo,  Molo,  Ostuni,  Manduria,  and  other  places 
in  the  province.  Those  of  Brindisi,  from  Avhich  we  shoidd  be  inclined 
to  expect  most,  have  been  too  much  modernised  to  be  of  value  as 
examples ;  but  there  is  in  this  town  a  small  circular  church  of  great 
beauty,  built  apparently  by  the  Knights  Templars,  and  afterwards 
possessed  by  the  Knights  of  St.  John.  It  is  now  in  niins,  but  many  of 
the  fresctis  that  once  adonied  its  walls  still  remain,  as  well  as  the 
marble  pillars  that  supjported  its  roof.  Being  at  some  distance  from 
the  harbour,  the  Knights  of  St.  John  built  another  small  church  near 
the  port,  which  still  remains  nearly  unaltered. 

Attached  to  the  church  at  Canosa  externally  is  a  small  but  inte- 
resting tomb-house,  erected  to  the  memory  of  Bohemond  by  his  mother 
shortly  after  his  death.  It  is  singularly  classical  in  detail,  and  con- 
sists of  a  small  square  apartment  surmounted  by  an  octagonal  cupola. 
Its  bronze  doors,  though  small,  are  very  elaborate,  and  show  strong- 
traces  of  Arabic  taste,  which  is  not  found  in  any  other  example  in  the 
province. 

About  a  mile  out  of  Brindisi  is  found  the  small  convent  chapel  of 
Sta.  Maria  del  Casale,  of  a  considerably  more  modem  date  than  any  of 
those  mentioned  above,  having  been  built  in  the  first  half  of  the  14th 
century,  by  Bhilip  Prince  of  Taranto,  brother  of  Charles  II.  of  Anjou. 
The  hood  over  its  principal  doorway  is  slightly  pointed ;  one  of  the 
few  examples  of  this  form  in  Apulia.      It  is  supported  by  bold  stone 


Chap.  III.  GENERAL  KEMAliKS.  807 

brackets  let  into  the  wall,  instead  uf  the  rich  columns  resting  on  tin; 
backs  of  lions  and  monsters  usual  in  this  part  of  Italy ;  and  alto- 
gether shows  much  more  resemblance  to  the  pointed  architecture  of 
the  north  of  Italy  than  almost  any  other  church  in  Apulia. 

The  House;  of  Swabia  seem  to  have  destroyed  more  churches  than 
they  built,  but  they  have  left  several  important  castles  and  palaces 
which  arc  well  worthy  of  study.  That  of  Lucera  is  perhaps  the  most 
extensive,  but  the  Castel  del  Monte,  built  by  Frederic  II.,  is  the  most 
1)oautiful,  and  as  a  specimen  of  the  Pointed  style  as  applied  to  civil 
buildings  is  quite  equal  to  anything  else  found  anywhere  in  Italy. 

The  style  of  architecture  which  most  resembles  that  used  in  Apulia 
is  the  one  we  find  prevailing  in  the  valley  of  the  Po  during  the  12tli 
and  the  early  part  of  the  1.3th  centuries  ;  but  we  miss  entirely  in  the 
south  the  reed-like  pilasters  which  formed  so  favourite  a  mode  of  deco- 
ration in  Verona  and  elsewhere;  wo  miss  also  the  figured  sculpture 
which  everywhere  adoiTied  the  northern  portals  and  facades.  The 
Greek  iconoclastic  feeling  prevailed  to  such  an  extent  in  the  south  as 
entirely  to  prevent  the  introduction  of  the  human  form,  either  in  bas- 
reliefs  or  in  single  figures ;  but  the  architects  indemnified  themselves 
for  this  by  the  introduction  of  lions,  elephants,  and  monsters  of  all 
sorts,  to  an  extent  found  nowhere  else,  and  by  the  lavish  employment 
of  sculjjtured  foliage  and  richly-carved  frets  and  mouldings,  and  a  bold 
system  of  bracketing,  which  gave  to  the  style  as  much  richness  as  can 
be  desired,  often  combined  with  great  beauty  of  detail. 

We  miss  also  in  this  province  the  pointed  arch  which  the  Saracenic 
architects  introduced  so  currently  into  the  contempoiary  churches  in 
Sicily.  Though  forming  part  of  the  same  kingdom  during  the  Norman 
period,  there  is  very  little  in  Apulia  that  betrays  the  influence  of  the 
Saracenic  style.  The  only  striking  example  apparently  is  the  crypt 
of  San  Nicola  at  Bari,  which  probably  was  adorned  by  workmen  sent 
from  Palermo  for  the  purpose,  and  who  introduced  there  the  same 
style  which  they  had  employed  under  the  same  masters  in  the 
palaces  of  La  Cuba  and  La  Ziza,  or  the  royal  churches  of  Monreale  and 
Palenno. 

Strictly  speaking,  the  style  of  Apulia  may  be  called  Eomanesque 
carried  out  with  a  strong  admixture  of  Greek  or  Byzantine  feeling  in 
the  details,  but  still  retaining  its  local  and  Italian  character  more 
essentially  perhaps  than  any  other  of  the  styles  which  prevailed  in 
Italy  during  the  middle  ages. 


808  SICILIAN  ARCHITECTURE.  Hook  VI. 


CHAPTER    IV. 
SICILY. 


CONTENTS. 

Population  of  Sicily — The  Saracens — Buildings  at  Palermo      Cathedral  of  Monreale  - 

Cefalu  —  The  Pointed  Arch. 


There  are  fow,  at  least  among  the  shorter  chapters  of  architectural  his- 
tory, more  interesting,  in  "various  ways,  than  that  which  treats  of  the 
introduction  of  the  pointed-arched  stjle  into  Sicily,  and  of  its  peculiar 
development  there.  Its  whole  history  is  so  easily  imderstood,  the  style 
itself  so  distinct  from  that  of  any  other  branch,  and  at  the  same  time 
so  intrinsically  beautiful,  that  it  is  of  all  the  divisions  of  the  subject  the 
one  best  suited  for  a  monograph}'-,  and  so  it  seems  to  have  been  con- 
sidered by  many — Hittorflf  and  Zanth,  the  Duke  of  Serra  di  Falco,  and 
our  own  Gaily  Knight  having  chosen  it  for  special  illustration,  so  that 
in  fact  there  are  few  European  styles  of  which  we  have  more  complete 
knowledge.  Many  of  the  points  of  its  history  are  nevertheless  still 
subjects  of  controversy,  not  from  any  inherent  obscurity  on  the  subject, 
but  because  it  has  been  attempted  to  fipply  to  it  the  rules  and  theories 
derived  from  the  history  of  Northern  art. 

The  fact  is,  the  map  of  Sicily  tells  its  whole  history  ;  its  position 
and  form  reveal  nearly  all  that  is  required  to  be  known  of  the  races 
that  inhabited  it,  and  of  their  fate.  Situated  in  the  centre  of  the  Me- 
diterranean Sea,  of  a  nearly  regular  triangular  form,  and  presenting 
one  side  to  Greece,  another  to  Africa,  and  a  third  to  Italy,  the  length 
of  these  coasts,  and  the  relative  distance  from  the  opposite  shores,  are 
nearly  correct  indexes  of  the  influence  each  has  had  on  the  civilization 
of  the  island. 

In  a  former  chapter '  it  was  shown  how  strong  was  the  influence  of 
Dorian  Greece  in  Sicily.  Almost  all  the  ancient  architectural  remains 
belong  to  that  people.  The  Carthaginians,  who  succeeded  the  Greeks, 
have  left  but  slight  traces  of  humanising  influence ;  and  the  rule  of 
the  Eomans  was  that  of  conquerors,  oppressive  and  destructive  of  the 
civilization  of  the  people.  After  the  Christian  era  a  very  similar  suc- 
cession of  influences  took  place.  First  and  most  powerful  was  the  By- 
zantine element,  which  forms  the  groimdwork  and  the  main  ingredient 
in  all  that  follows.  To  this  succeeded  the  Saracenic  epoch :  bright, 
brilliant,  but  evanescent.     In  the  11th  century  the  Italian  element  re- 


P.  264, 


Chap.  IV.  THE  SARACENS.  809 

Riimed  its  s-way  under  the  banner  of  a  few  Xorman  adventnrors,  and  in 
the  guise  of  a  Xorman  conquest ;  and  sacerdotal  Rome  regained  the 
inheritance  of  her  imperial  predecessor.  In  the  Christian  period, 
however,  the  elements  were  far  from  being  so  distinct  as  on  the  pre- 
vious occasion,  for  reasons  easily  understood.  Every  fresh  race  of 
masters  found  the  island  already  occupied  by  a  very  numerous  popula- 
tion of  extremely  various  origin.  The  new-comers  could  do  no  more 
than  add  their  own  fonns  of  art  to  those  previously  in  use,  the  conse- 
quence being  in  every  case  a  mixed  style  containing  elements  derived 
from  eveiy  portion  of  the  inhabitants. 

\Xe  have  now  no  means  of  knowing  what  the  exact  form  of  the 
Bj'zantine  churches  of  Sicily  was  before  the  Arab  invasion.  All 
have  perished,  or  at  least  are  undescribed.  The  Saracenic  remains, 
too,  have  all  disappeared,  those  buildings  generally  supposed  to  be  ' 
relics  of  their  rule  being  now  proved  to  have  been  erected  by  Moorish 
workmen  for  theii'  Christian  masters.  With  the  Norman  sway  a  style 
arose  which  goes  far  to  supply  all  these  deficiencies,  being  Greek 
in  essence,  Eoman  in  form,  and  Saracenic  in  decoration ;  and  these 
elements  mixed  in  exactly  those  proportions  which  we  should  expect. 
Xowhere  do  we  find  the  square  forms  covered  by  domes  of  the  Greek 
Church,  nor  one  suited  to  the  Greek  ritual.  These  have  given  place  to 
the  Eoman  basilica,  and  the  arrangement  adapted  to  the  rites  of  the 
Eomish  Church ;  but  all  the  work  was  performed  by  Greek  artists,  and 
the  Eoman  outline  was  filled  up  and  decorated  to  suit  the  taste  and 
conciliate  the  feelings  of  the  worshippers,  who  were  conquered  Greeks 
or  converted  Moors.  Their  fancy,  too,  as  richer  and  hap]3ier  than  that 
of  the  ruder  races  of  the  West,  was  allowed  full  play.  An  Eastern 
exuberance  in  designing  details,  and  taste  in  applying  colours,  is  here 
exhibited,  cramped  a  little,  it  must  be  confessed,  by  the  architectiiral 
form  and  the  ritual  arrangements  to  which  it  is  applied,  but  still  a 
niling  and  beautifying  principle  throughout. 

Among  all  these  elements,  those  who  are  familiar  with  architectural 
history  Avill  hardly  look  for  anything  indicative  of  purely  Norman  taste 
or  feelings.  A  mere  handful  of  military  adventurers,  they  conquered  as 
soldiers  of  Eome  and  for  her  aggrandisement,  and  held  the  fief  for  her 
advantage  :  they  could  have  brought  no  arts  even  if  their  coimtry  had 
then  possessed  any.  They  were  content  that  their  newly-acquired 
subjects  should  erect  for  them  palaces  after  the  beautiful  fashion  of  the 
country,  and  that  Eoman  priests  shovild  direct  the  building  of  churches 
suited  to  their  forms,  but  built  as  the  Sicilians  had  been  accustomed  to 
build,  and  decorated,  as  they  could  decorate  them,  better  than  their 
masters  and  conquerors. 

All  this,  when  properly  understood,  lends  an  interest  to  the  history 
of  this  little  branch  of  architecture,  wholly  independent  of  its  artistic 
merit ;  but  even  the  art  itself  is  so  beautiful  and  so  instructive,  from 
its  being  one  of  the  styles  where  polychromy  was  universally  em- 
ployed and  is  still  preserved,  that  notwithstanding  all  that  has  been 
done,  it  still  merits  more  attention  than  has  yet  been  bestowed  upon  it. 
It  is  extremely  difficult,  in  a  limited  sjtace,  to  give  a  clear  account 


810 


SICILIAN  ARCHITECTURE. 


Book  VI. 


of  the  Sicilian  pointed  (style,  owing  to  the  fusion  of  the  three  styles  of 
which  it  is  composed  being  far  fioiu  complete  or  simultaneous  over  the 
nvhole  island,  and  there  heijig  no  one  edifice  in  which  all  three  are 
mixed  in  anything  like  equal  pro]3ortions.  Each  division  of  the  island, 
in  fact,  retains  a  predilection  for  that  style  which  characterised  the 
majority  of  its  inhahitants.  Thus  Messina  and  the  northern  coast  as 
far  as  Cefolu  remained  Italian  in  the  main,  and  the  churches  there 
have  only  the  smallest  possible  admixture  of  either  Greek  or  Saracenic 
work.  The  old  parts  of  the  Nunziatella  at  Messina  might  be  found 
at  Pisa,  ■\\-hile  the  cathedral  of  this  towm,  and  that  at  Cefalu,  woidd 
hardly  be  out  of  place  in  Apulia,  except  indeed  that  the  last-named 
cathedral  displays  a  certain  early  predilection  for  pointed  arches,  and 
something  of  Greek  feeling  in  the  decoration  of  the  choir. 

In  like  manner  in  Sj'racuse  and  the  southern  angle  of  the  island, 
the  Greek  feeling  prevails  almost  to  the  exclusion  of  the  other  two. 
In  Palermo,  on  the  other  hand,  and  the  western  parts,  the  architecture 
is  so  remarkably  Saracenic  that  hardly  any  antiquarian  has  yet  been 
able  to  make  up  his  mind  to  admit  the  possibility  of  such  buildings 
as  the  Cuba  and  Ziza  having  been  erected  by  the  Xorman  kings. 
There  is,  however,  little  or  no  doubt  that  the  latter  was  erected  by 
William  I.  (1154-1169),  and  the  other  about  the  same  time,  though 
by  whom  is  not  quite  so  clear.  Both  these  buildings  were  erected 
after  a  centurv  of  Norman  dominion  in  the  island  :  still  the  ]\Ioorish  in- 


(155 


San  Giovanni  degli  Ercmiti,  I'alenno.     From  Gaily  Knight's  Normans  in  Sicily. 


Chap.  IV. 


CATHEDRAL  OF  MONREALE. 


811 


fluence,  lierc  so  predominant,  is  not  a  subject  of  wonder  wlicn  wo  con- 
sider the  immeasurable  superiority  of  tbat  people  in  art  and  civiliza- 
tion, not  only  to  their  new  rnlers,  but  to  all  the  other  inhabitants.  It 
\vas  therefore  only  natural  that  they  should  be  employed  to  provide 
for  the  Norman  Counts  such  buildings  as  they  only  had  the  art  to 
erect  or  adorn. 

A  still  more  remarkable  instance  of  the  prevalence  of  Saracenic 
ideas  is  rei^resented  in  woodcut  No.  655,  being  the  Church  of  San  Gio- 
vanni degli  Eremiti  at  Palermo.  Here  we  find  a  l)uilding  erected  be- 
3'ond  all  doubt  as  late  as  the  year  1132,  by  King  Roger,  for  the  pur- 
poses of  Christian  worship,  which  would  in  no  respect  be  out  of  place 
as  a  mosque  in  the  streets  of  Delhi  or  Cairo,  except  in  the  form  of  its 
tower.  In  fact,  were  we  guided  by  architectural  considerations  alone, 
this  church  would  have  more  properly  been  included  in  the  subject  of 
Saracenic,  not  of  Christian  architecture. 

There  are  three  other  churches  of  Palermo  which  exhibit  the  new 
mixed  style  in  all  its  completeness.  These 
are  the  Martorana  (1113-1139),  iii  which 
the  Greek  element  prevails  somev/hat  to 
the  exclusion  of  the  other  two  ;  the  Capella 
Palatina  in  the  Palace,  built  in  1132  ;  and 
the  more  magnificent  church  of  Monreale, 
near  Palermo  (woodcut  No.  656),  begun  in 
1 1 74,  and  certainly  the  finest  and  most 
beautiful  of  all  the  buildings  erected  by  the 
Nonnans  in  this  country.  This  church  is 
315  ft.  in  its  extreme  length;  while  the 
beautiful  gem-like  chapel  of  the  royal 
])alace  is  much  smaller,  being  only  125  ft. 
long,  and  conseqiiently  inferior  in  grandeur, 
but  in  the  relative  proportions  of  its  parts, 
and  in  all  other  essential  points,  very 
similar. 

In  arrangement  and  dimensions  the 
cathedral  of  Monreale  ver}'  much  resem- 
bles that  at  Messina,  showing  the  same 
general  influence  in  both;  but  all  the  de- 
tails of  the  Palennitan  example  betray  \^ 
that  admixture  of  Greek  and  Saracenic  [  ^  — 
feeling  which  is  the  peculiarity  of  Sicilian 
architecture.  There  is  scarcely  one  single 
form  or  detail  in  the  whole  building  which 
(■;in  strictly  be  called  Gothic,  or  which 

points  to  any  connexion  with  Northern  arts  or  races.  The  plan  of 
this,  as  of  all  the  Sicilian  churches,  is  that  of  a  Roman  basilica,  far 
more  than  of  a  Gothic  church.  In  all  these  churches  no  vaiilt  was 
ever  either  built  or  intended.  The  central  is  divided  fi-om  the  side 
aisles  by  pillars  of  a  single  stone,  generally  borrowed  from  ancient 
temples,  but,  in   this  instance  at  least,  with  capitals  of  great  beauty, 


coo.     I'lan  of  Cliurch  at  Monreale. 

From  Hittorff  and  Zantli.    Scale  lOU  ft. 

to  1  in. 


SICILIAN  ARCHITECTURE. 


■rj7f}^mmsi 


msmmmii^mm^m>vmi-m^mmm.^tii^^imw^'fSi 


/''    if    W.^j 


ii/  ■ 


657.    Pcriion  of  tbe  Nave,  Monreale.    From  Hittorff  mid  Zautli. 


Book  VI. 

snitcd  to  their  form 
and  to  tlio  load  tlicy 
have  to  support.  The 
pier-arches  are  point- 
ed, bnt  not  Gothic, 
having  no  successive 
planes  of  decoration, 
but  merely  square 
masses  of  masonry 
stilting  arches  of 
equally  simple  form. 
The  windows,  too, 
though  pointed,  are 
undivided,  and  evi- 
dently never  meant 
for  painted  glass. 
The  roofs  of  the  nave 
are  generally  of  open 
framing,  like  those 
of  the  basilicas,  or- 
namented in  Sarace- 
nic taste.  The  aisles, 
the  intersection  of 
the  transepts  and 
nave,  and  the  first 
division  of  the  sanc- 
tuary are  generally 
richer,  and  conse- 
quently more  truly 
Moorish.  The  apse 
again  is  Eoman. 
Taken  altogether,  it 
is  only  the  accident 
of  the  pointed  arch 
having  been  bor- 
rowed from  the  Moors 
that  has  led  to  the 
idea  of  a  Gothic  feel- 
ing existing  in  these 
edifices.  It  does  ex- 
ist at  Messina  and 
Cefalu,  but  here  is 
almost  wholly  want- 
ing. 

It  is  evident  that 
all  the  architectural 
features  in  the  build- 
ina's  of  which  the 
cathedial    of    Mon- 


CiiAi'.  IV.         CATHEDRAL  OF  PALERMO.  813 

rcale  is  tlie  type,  were  subordinate,  in  tlie  eyes  of  their  'bnilders,  to 
1  he  mosaic  decorations  whicla  cover  every  part  of  the  interior,  and  are 
in  fact  the  glory  and  the  pride  of  the  edifice,  and  alone  entitle  it  to 
rank  among  the  finest  of  mediseval  churches.  All  the  principal  per- 
sonages of  the  Bible  are  here  represented  in  the  stiff  but  grand  style 
of  Greek  art,  sometimes  with  Greek  inscriptions,  and  accompanied  by 
scenes  illustrating  the  Old  and  New  Testaments.  They  are  separated 
and  intermixed  with  arabesques  and  ornaments  in  colour  and  in  gold, 
making  up  a  decoration  unrivalled  in  its  class  by  anything  the  middle 
agi's  have  produced.  The  church  at  Assisi  is  neither  so  rich  nor  so 
splendid.  The  Certosa  is  infamous  in  taste  as  compared  with  this 
Sicilian  cathedral.  No  specimen  of  opaque  painting  of  its  class,  on 
this  side  of  the  Alps,  can  compete  with  it  in  any  way.  Perhaps  the 
painted  glass  of  some  of  our  cathedrals  may  have  sui-passed  it,  but  that 
is  gone.  In  this  respect  the  mosaic  has  the  advantage.  It  is  to  be 
regretted  that  we  have  no  direct  means  of  comparing  the  effect  of 
these  two  modes  of  decoration.  In  both  the  internal  architecture  was 
subordinate  to  the  colour — more  so  perhaps,  as  a  general  rule,  in  these 
Sicilian  examples  than  in  the  North.  In  fact  the  architecture  was 
merely  a  vehicle  for  the  display  of  painting  in  its  highest  and  most 
gorgeous  forms. 

Besides  the  mosaic  paintings  which  adorn  the  upper  par^  of  the 
walls  of  these  Palermitan  chm-ches,  they  possess  another  kind  of  deco- 
ration almost  equally  effective,  the  whole  of  the  lower  part  of  the  walls 
being  reveted  with  slabs  of  marble  or  porphyry  disposed  in  the  most 
beautiful  patterns.  The  Martorana  depends  wholly  for  its  effect  on 
this  species  of  decoration.  In  the  Capella  Palatina,  and  the  church  at 
Monreale,  it  occupies  only  the  lower  part  of  the  walls,  and  serves  as  a 
base  for  the  storied  decorations  above  ;  but  whether  used  separately 
or  in  combination,  the  result  is  perfect,  and  such  as  is  not  produced  by 
any  other  churches  in  any  part  of  Europe. 

Externally  the  Gothic  architects  had  immensely  the  advantage. 
They  never  allowed  the  coloured  decorations  to  interfere  with  their 
architectural  effects.  On  the  contrary,  they  so  used  them  as  to  make 
their  windows  their  most  beautiful  and  attractive  features. 

The  cathedral  of  Palermo,  the  principal  entrance  of  which  is  shown 
in  woodcut  No.  658,  is  a  building  of  much  later  date,  what  we  now 
see  being  principally  of  the  14th  centuiy.  Although  possessing  no 
dignity  of  outline  or  grace  of  form,  it  is  more  richly  ornamented  with 
intersecting  arches  and  mosaic  decorations  externally  than  almost  any 
other  church  of  its  class.  It  is  richer  perhaps  and  better  than  the 
cathedral  of  Florence,  inasmuch  as  here  the  decorations  follow  the 
constiiiction,*  and  are  not  a  mere  unmeaning  panelling  that  might  be 
applied  anywhere.  Still  the  effect  of  the  whole  is  rather  pretty  than 
grand,  and  as  an  architectural  display  falls  far  short  of  the  bolder 
masonic  expression  of  the  Northern  Gothic  churches. 

After  these,  one  of  the  most  important  churches  of  that  age  in  the 
island  is  the  cathedral  of  Cefalu,  already  alluded  to.  It  was  com- 
menced by  King  Eoger  in  1131.     It  is  230  ft.  long  by  90  ft.  wide. 


814 


SICILIAN  AUCHITECTURE. 


Book  VI. 


^h^iJ^JlBBr-r'^^^ r^ rv r«pp&'^^p^rTprAn/-/ifLii^i  f-r^r^ri/./irj  3^ 


658. 


Lateral  Entrance  to  Cathedral  at  Palermo.     From  Hittcrff  and  Ziinth. 


The  choir  and  transepts  are  vaulted  and  gToined ;  the  nave  has  a 
wooden  roof;  all  the  arches  are  pointed;  and  with  its  two  western 
towers  it  displays  more  Gothic  feeling  than  any  other  church  in 
Sicily. 

The  cathedral  at  Messina,  though  very  much  resembling  that  at 
Monreale  in  plan,  has  been  so  altered  and  rebuilt  as  to  retain  very 
little  of  its  original  architecture.  The  other  churches  in  the  island 
are  either  small  and  insignificant,  or,  like  that  at  Messina,  have  been 
so  altered  that  their  features  are  obliterated. 

Besides  the  Saracenic  castles  or  palaces  above  mentioned,  there 
are  no  important  civil  buildings  of  mediaival  style  in  Sicil3^  There 
are  two  cloisters — one  at  Monreale  and  the  other  at  Cefalu — ^both  in 
the  stvle  universal  in  all  the  countries  bordering  on  the  Mediter- 
ranean  Sea,  and  already  described  in  speaking  of  those  of  Elnc,  Fonti- 
froide,  Aries,  &c.,  as  well  as  those  of  San  Giovanni  Latcrano  at  Eome. 
Their  geneival  arrangement  consists  of  small  but  elegant  pillars  of 
Corinthian  design,  in  pairs,  supporting  pointed  arches  of  great  elegance 
of  form.  In  many  respects  this  is  a  more  beautiful  mode  of  producing 
a  cloistered  arcade  than  the  series  of  unglazed  windows  which  were 
universally  adopted  in  the  North.  This  Southern  method  presupposes 
a  wooden,  or  at  most  a  tunnel-vaulted  roof,  as  at  Aries,  whereas  all  our 


CiiAi'.  IV.  THE  POINTED  AllCH.  815 

best  examples  Imve  intersecting  vaults  of  great  'beanty,  which 'indeed 
is  the  excuse  for  the  windowed  arrangement  assumed  by  them.  An 
intermediate  course,  like  that  adopted  at  Zurich  (woodcut  Ko.  429), 
wouhl  perhaps  best  reconcile  the  difficulty ;  but  this  was  only  used 
during  the  period  of  transition  from  one  style  to  the  other.  The  effect, 
however,  of  the  cloister  at  Monreale,  with  the  fountain  in  one  of  its 
divisions,  and  a  certain  air  of  Eastern  elegance  and  richness  pervading 
the  wliole,  is  not  surpassed  by  any  of  the  examples  on  the  Continent 
of  its  own  size,  though  its  dimensions  do  not  admit  of  its  competing 
with  some  of  the  larger  examples  of  France,  and  especially  of  Spain. 

As  the  employment  of  the  pointed  arch  so  early  in  Sicily  has  been 
much  quoted  in  the  controversy  regarding  the  invention  of  that 
feature,  it  may  be  convenient  to  recapitulate  here  what  has  already 
been  said  on  that  subject — this  being  the  last  occasion  on  which  it 
will  be  requisite  to  refer  to  it  in  the  course  of  this  work. 

We  have  already  seen  that  the  pointed  arch  was  used  in  the  south 
of  France — at  Vaison  for  instance — at  least  as  early  as  the  10th  cen- 
tury, but  only  as  a  vaulting  expedient.  During  the  1 1th  it  was  cur- 
rently used  in  the  south,  and  as  far  north  as  Burgundy ;  and  in  the 
1 2th  it  was  boldly  adopted  in  the  north  as  a  vaidting,  constructive,  and 
decorative  feature,  giving  rise  to  the  invention  of  a  totally  new  style 
of  architectural  art. 

It  is  by  no  means  impossible  that  the  pointed  arch  may  have  been 
used  by  the  Greek  or  Pelasgic  colonists  about  Marseilles  at  a  far 
earlier  date,  but  this  could  only  have  been  in  arches  or  domes  con- 
structed horizontally.  These  may  have  suggested  its  use  in  radiating 
vaults,  but  can  hardly  be  said  to  have  influenced  its  adoption.  Had 
it  not  been  for  the  constructive  advantages  of  pointed  arches,  the 
IJoman  circular  form  would  certainly  have  retained  its  sway.  It  is 
possible,  however,  that  the  northern  Franks  would  never  have  adopted 
it  so  completely  as  they  did  had  they  not  become  familiar  with  it  from 
its  Tise  either  in  Sicily  or  the  East.  When  once  they  had  so  taken  it 
up,  they  made  it  their  own  by  employing  it  only  as  a  modification  of 
the  round-arched  forms  previously  introduced  and  perfected. 

In  Sicily  the  case  is  different ;  the  pointed  arch  there  never  was 
either  a  vaulting  or  constructive  expedient — it  was  simply  a  mode  of 
eking  out,  by  stilting,  the  limited  height  of  the  Eoman  pillars,  which 
they  found  and  used  so  freely.  It  is  precisely  the  same  description  of  arch 
as  that  used  in  the  construction  of  the  mosque  El  Aksah  at  Jerusalem 
in  the  8th  century  (woodcut  No.  312);  at  Caii-o  in  rebuilding  that  of 
Amrou  in  the  9th  or  10th,  in  the  Azhar  and  other  mosques  of  that  city, 
and  also,  I  believe,  in  the  old  mosque  at  Kairoan,  which  was  the  imme- 
diate stepping-stone  by  which  it  crossed  to  Sicily.  It  was  used  too  in 
Spain,  at  Cordova  and  Granada,  before  and  after  its  introduction  here, 
till  it  became  a  settled  canon  of  art,  and  a  usual  form  of  IMoorish  archi- 
tecture. As  such  it  was  used  currently  in  Sicily  by  the  Moors,  and  in 
I'alormo  and  elsewhere  was  so  essentially  a  part  of  the  architecture  of 
the  day  that  it  was  employed  as  a  matter  of  course  in  the  churches ; 
but  it  neither  was  introduced  l)y  the  Normans,  nor  carried  by  them 


816  SICILIAN  AECHITECTURE.  Book  VI. 

from  Sicily  into  France,  and,  except  so  far  as  already  stated,  it  had  no 
iutluenco  on  the  arts  of  France.  In  fact  there  is  no  (connexion,  either 
ethnogra])hically  or  architecturally,  between  the  Sicilian  pointed  arch 
and  the  French,  and  beyond  the  accident  of  the  broken  centre  they 
have  nothing  in  common. 

Although  therefore  it  will  hardly  again  be  used  as  bearing  upon 
the  question  of  the  invention  of  the  pointed  arch,  the  architecture  of 
Sicily  deserves  a  better  nionogi'aphy  than  it  has  yet  been  made  the 
subject  of.  It  must,  however,  be  written  by  some  one  more  intimately 
familiar  "svdth  the  Byzantine,  Saracenic,  and  Eomanesque  styles  than 
those  have  been  who  have  hitherto  undertaken  the  task.  To  any  one 
so  qualified  it  will  aiford  th^  best  field  to  be  found  in  Europe  for 
tracing  the  influence  of  race  and  climate  on  architecture ;  for  nowhere, 
owing  in  a  gi-eat  measure  to  its  insular  position,  are  the  facts  more 
easilj^  traced,  or  the  results  more  easily  obsei-ved. 

In  one  other  point  of  view  also  the  style  deserves  attention,  for  it 
is  only  from  it  that  we  can  fairly  weigh  the  merit  of  the  two  systems 
of  internal  decoration  employed  during  the  middle  ages.  By  com- 
paring, for  instance,  the  cathedral  at  Monreale  with  such  a  building  as 
the  Sainte  Chapelle  at  Paris,  we  may  judge  whether  polychiomy  by 
opaque  pictures  in  mosaic,  or  by  translucent  pictures  on  glass,  is  the 
more  beautiful  mode  of  decorating  the  interior  of  a  building.  The 
fonijer  have  no  doubt  the  advantage  of  durability,  but  for  real  beauty 
and  brilliancy  of  efi"ect  I  have  little  doubt  that  nine  persons  out  of 
ten  would  prefer  the  latter.  The  question  has  never  jet  been  fairly 
discussed ;  and  examples  sufiiciently  approximating  to  one  another, 
either  in.  age  or  style,  are  so  rare  that  its  determination  is  not  easy. 
For  that  very  reason  it  is  the  more  desirable  that  we  should  make  the 
most  of  those  examples  we  have,  and  try  if  from  them  we  can  settle 
one  of  the  most  imjjortant  questions  which  architectural  history  has 
left  for  us  to  determine  wdth  reference  to  our  future  progress  in 
the  art. 


Chap.  I. 


SUBJECT  IMPERFECTLY  KNOWN. 


817 


BOOK   VII. 


SPAIN    AND    PORTUGAL. 


CHAPTER    1. 


SPAIN. 


CONTENTS. 


Subject  imperfectly  known  — •  Peculiar  arrangements  —  Churches  at  Zamora  —  Toro 
Segovia  —  Pointed  style  —  Cathedrals  of  Leou  —  Burgos  —  Toledo  —  Seville. 


CHRONOLOGY. 


DATES. 

Gothic  conquest — Atbaulf a.d.    411 

Moorish  conquest 711 

liingdoms  of  Navarre  and  Aragun  esta- 
blished about 760 

Sancho  I.,  King  of  Castillo 1005 

Alpbonso  VI.  ur.ifes  all  Northern  Spain 

into  one  kingdom 1072 

Henry  de  Besanfon— foundation  of  king- 
dom of  Portugal 1095 


Alpbonso  III.— conquest  of  Toledo    . 

Conquest  of  Cordova 

Valencia 

Seville  and  Murcia 

Ferdinand  el  Santo  died      .... 

Alonso  el  Sabio 1252-1284 

Pedro  the  Cruel 1350-1,369 

Ferdinand  and  Isabella 1474-1516 

Conquest  of  Granada 1492 


DATES. 
A.D.  1085 
1226 
1238 
1243 
1252 


The  monuments  of  Gothic  architecture  in  Spain  are  known  to  be 
numerous  and  splendid,  and  its  history  Avould  be  of  surpassing  in- 
terest; but  beyond  this  the  subject  is  ahnost  unknown.  With  few 
exceptions  we  have  no  means  of  obtaining  even  the  most  elementary 
notions  regarding  the  dates  and  styles  of  the  noble  mediaeval  cathe- 
drals of  this  land.' 


'  A  large  amount  of  vnluable  matter  on 
the  subject  is  contained  in  tlie  Kspafia  .'^agrada 
and  the  works  of  Pons  and  Cean  liermudez. 
But  these  works  are  unaccompanied  by  draw- 
ings, and  consequently  not  available  for  tlie 
])urposes  of  exact  examination  and  description. 
'I'lie  later  writers  who  have  touched  upon  the 
subject  are  Roberts  and  Villa  Ami!.  The 
former,  however,  is  far  too  incorrect  a 
sketcher,  and  too  studious  of  picturesque 
effect  at  the  expense  of  truth  and  exact- 
ness, to  be  of  use  to  any  one  desirous  of 
data  to  reason  upon.  The  latter  is  moie 
correct,  and  with  a  nicer  perception  of  tiie 
peculiarities  of  style  has  produced  a  work 
which,  if  accompanied  liy  a  few  plans  and 
arcliitectural  details,  would  go  far  to  sup- 
ply the  deficiency  complaineil  of.  liveiy- 
thing,  however,  has  here  again  been  sacrificed 


to    the    production    of  a    s]jlendid    picture- 
book. 

Tliere  is  more  information  on  tlie  suljject 
contained  in  Ford's  Handbook  of  Spain  than 
in  any  other  work  that  has  been  jiuhlished; 
but  this  is  without  illustrations,  and  tlie 
proportion  of  the  book  assigned  to  architec- 
ture is  necessarily  small.  A  good  deal  may 
be  gleaned  from  the  works  of  Wells,  Wid- 
drington,  Hoskins,  and  other  recent  tour- 
ists, but  it  is  of  the  most  unsatisfactory  class, 
as  neither  they  nor  any  one  else  who  has  yet 
published  on  Spain  were  -sufficiently  in- 
structed to  pronounce  on  any  of  the  dis- 
l)Uted  questions.  Even  the  splendid  work  of 
Laborde  adds  veiy  little  to  our  knowledge  of 
the  sulject,  being  almost  confined  to  the 
Uonian  antiqvfities,  while  the  Gothic  were 
either  despised  or  misundeistood. 

3    G 


818  SPANISH  AHCIIiTECTURK.  Book  VII. 

With  this  almost  total  want  of  accurate  and  detailed  descriptions, 
it  is  obvious  that  we  cannot  arrive  at  any  of  those  minute  i)eculiarities 
and  finer  shades  of  difterence  which  give  such  value  to  the  develop- 
ment of  .styles.  Thci'e  is  the  still  greater  danger  that  these  particidars 
are  liable  to  be  mistaken  and  misstated  from  the  want  of  sufiicient  data 
on  which  to  found  any  correct  deductions. 

The  groat  outlines  of  Spanish  history  are  strongly  marked  and 
easily  undei-stood.  From  the  Gothic  king  Athaulf  (417)  to  the  death 
of  Koderick  (714)  Spain  was  under  the  dominion,  more  or  less  com- 
plete, of  the  Goths.  No  buildings  are  now  known  to  exist  which 
belong  authentically  to  that  age,  but  it  must  be  supposed  that  a  foun- 
dation of  Gothic  institutions  and  a  mixture  of  Gothic  blood  was  the 
resiilt  of  this  long  dominion ;  and  these  elements  showed  themselves 
most  distinctly  in  Spanish  historj^  and  art  in  all  subsequent  ages. 
With  the  Moorish  conquest  in  the  beginning  of  the  8th  century  the 
architectural  history  of  the  country  divides  itself  into  two  separate 
and  distinct  branches.  The  one  fixed  its  head-quarters  at  Cordova 
and  afterwards  in  Granada,  where  it  remained  unmixed  during  the 
whole  period  in  which  these  cities  were  occupied  by  the  Moors.  It 
gradually  spread  itself  north  as  far  as  the  Pyrenees,  losing,  however, 
much  of  its  purity  as  it  extended  farther,  and  easily  and  rapidly  dying 
out  on  the  first  reverse  of  fortune  that  befel  its  brilliant  inventors. 
The  other,  nursed  in  the  rude  cradle  of  rugged  Asturias,  maintained 
itself  in  Oviedo  and  Leon  throughout  the  whole  of  the  middle  ages, 
and  during  the  1 1th  century,  when  the  tide  of  conquest  began  to  roll 
back  on  the  Moors,  gradually  extended  itself  to  the  south.  In  the 
southern  provinces  it  imbibed  much  of  the  richness  of  the  Moorish 
architecture  which  it  was  superseding,  and  gave  rise  to  the  style  that 
may  aptly  be  called  Moresco,  to  denote  a  mixture  of  Saracenic  with 
Gothic  art,  as  we  use  the  word  Eomanesque  to  designate  a  mixture  of 
Eoman  with  the  styles  imported  or  invented  by  the  Barbarians. 

The  ebb  and  flow  of  these  two  great  styles  is  strongly  marked  and 
easily  traced,  even  with  such  imperfect  information  as  is  now  avail- 
able ;  but  when  we  attempt  to  discriminate  between  the  minor  and 
provincial  peculiarities  of  each,  our  knowledge  is  utterly  at  fault. 
We  can  just  perceive  that  Spain,  like  France,  is  divided  into  several 
architectiiral  provinces,  as  strongly  marked  and  as  distinctly  bounded, 
but  what  these  features  and  where  these  boimdaries  are,  still  remains 
to  be  detennined.  One  remark  only  can  be  made  here,  which  is,  that 
in  Gothic  architecture  Aragon  and  Navarre,  with  Catalonia  and  a 
great  part,  of  Valencia,  appear  to  rank  with  Gascony,  Kouergue,  and 
Eoussillon.  In  fact,  in  the  middle  ages,  the  Pyrenees,  to  use  the  ex- 
pression of  Louis  XIV.,  did  not  exist. 

This  style  common  to  the  two  countries  appears  to  extend  farther 
into  Spain  than  into  France.  Leon  and  Gallicia  stand  apart  from  this 
and  from  the  rest ;  the  Castilles  had  a  distinct  style  of  their  own,  and 
south  of  these  the  Moorish  element  predominates  to  such  an  extent, 
and  tinctures  everything  so  completely,  as  to  form  an  easily  dis- 
tinguished province  by  itself. 


CiiAi-.  I.  PECULIAR  AKRAXGEMENTS.  blO 

With  a  felicity  of  nomenclature  nnknown  in  other  countries,  the 
Si)auiaid.s  call  their  earlier  ronnd-arched  buildings  Gothic,  "  obras  de 
h)s  Clodos,"  which  they  certainly  were,  the  name  being  alwaj-s  lav 
more  applicable  to  the  ronnd-arched  than  to  the  pointed  style.  The 
latter  they  call  "  Tudesco,"  or  Teutonic,  an  equally  appropriate  name 
with  them,  as,  singular  though  it  may  at  first  appear,  they  borrowed 
the  style  from  Germany,  and  not  from  the  fountain-head  of  France. 

In  a  former  chapter  it  Avas  shown  with  what  difficulty  the  Fi'ankisli 
architects  forced  their  style  on  the  southern  or  Eomance  Provinces  of 
France,  how  unwillingly  it  was  received  there,  and  how  little  its 
principles  were  ever  understood  by  that  conquered  but  unamalgamated 
people.  The  sword  of  Simon  de  Montfort  and  his  fellow  crusaders, 
and  the  dungeon  and  stake  of  the  Inquisitors,  who  were  left  to  com- 
plete at  leisure  the  pious  work,  did  accomplish  an  outward  conformity. 
But  their  influence  and  teaching  never  extended  beyond  the  Tyrenees. 
Thus  the  hatred  caused  by  the  very  success  of  the  Franks  formed  a 
barrier  Avhich  added  to  the  innate  repulsion  between  them  and  the 
Spaniards,  and  effectually  prevented  the  style  from  penetrating  in  that 
quarter. 

On  the  contrary,  a  constant  communication,  aided  by  affinity  of 
race,  Avas  kept  up  through  Lombaixly  between  the  Goths  of  Spain  and 
those  of  Germany,  and,  paradoxical  though  it  may  at  first  sight  appear, 
it  is  nevertheless  true  that  the  pointed  style  piogressed  from  Paris  to 
ToTirnay  and  Cologne,  thence  up  the  valley  of  the  Ehine  to  that  of  the 
Po,  and  so  on  to  Barcelona  and  Burgos,  thus  almost  making  the  tour 
of  Europe  instead  of  folloAving  the  shorter  and  Avhat  might  seem  the 
natural  route.  In  later  years  we  see  these  same  countries  peacefully 
united  under  Charles  V.,  though  the  power  of  Louis  XIV.  could  not 
unite  France  and  Spain,  so  repugnant  are  the  natures  of  the  two  races 
one  to  the  other. 

An  ethnologist  will  miss  in  the  above  enumeration  of  styles  and 
races  all  mention  of  the  Phoenicians  and  Iberians,  who,  before  the 
Roman  torrent  swept  over  Europe,  occupied  in  the  Peninsula  the  same 
relative  positions  as  the  Moors  and  Goths  did  in  the  middle  ages.  Some 
influence  they  certainly  had,  but  I  fear  it  is  impossible  to  trace  it 
architecturally,  as  the  Phosnicians  never  were  a  building  race ;  and 
while  no  monumental  traces  of  their  power  remain  at  Tyre,  Sidon,  or 
Carthage,  such  are  not  to  be  expected  in  the  imperfectly-known  I'en- 
insula,  where,  too,  they  were  much  less  firmly  established.  The 
Iberians,  on  the  other  hand,  seem  to  have  been  complete  savages, 
who  never  built  nor  could  build ;  and  their  influence  consequently  has 
been  very  slight  on  the  arts  of  their  coiuitry. 

Till  some  accurate  plans  of  Spanish  churches  are  published,  it  is 
impossible  to  understand  either  Avhat  their  general  arrangements  are  or 
Avhence  derived.  The  only  one  which  I  possess  or  ever  saw  of  one  of 
their  first-class  cathedrals  is  that  of  Seville,  and  unfortunately  it  is,  for 
the  purposes  of  history,  the  least  interesting  of  any,  inasmuck  as, 
being  built  on  the  foundations  and  in  the  exact  form  of  the  mosque 
it  replaced,   it  is  no   index   to   the   usual   arrangement   of  (Ihristian 

3  G  2 


820  SPANISH  ARCHITECTURE.  liooic  VII. 

buildings.  From  descriptions  and  views  wo  gather  that  all  the  older 
and  smaller  clnux-lies  possess  the  usual  semicircular  apse,  while  the 
cathedrals  and  larger  churches  display  the  chcvet  arrangement.  The 
latter  is  either  the  complete  French  chevet  with  its  circlet  of  chapels, 
or  Avhat  may  be  called  the  German  chevet,  an  aisle  bent  round  behind 
the  high  altar  with  one  eastern  chapel.  If  the  eastern  end  of  the 
church  is  rectangular,  this  is  a  lady  chapel ;  if  circular  or  octangidar, 
as  at  Burgos  and  Batalha,  a  tomb-house.  All  the  larger  churches  have 
transepts,  but  they  seldom  project  beyond  the  side  aisles,  and  at  their 
intersection  with  the  nave  there  always  is  a  dome  or  raised  part  of  the 
roof,  mai'ked  externally  by  a  low  tower  or  projection  of  some  sort.  The 
Spanish  architects  apply  the  name  Cimborio  to  this  feature,  and  as  it  is 
peculiar  and  local  in  its  form,  it  may  be  well  to  retain  this  appellation 
in  speaking  of  it  in  future. 

The  nave  has  always  side-aisles  and  sometimes  chapels.  The  prin- 
cipal entrance  is  invariably  at  the  west  end,  and  generally  flanked  with 
towers.  All  these  characteristics  are  common  to  all  churches  on  both 
sides  of  the  Pyrenees,  and  therefore  cannot  be  considered  as  exclusively 
belonging  to  Spanish  churches.  The  arrangement  of  their  choirs,  how- 
ever, is,  I  believe,  peculiar,  at  least  as  we  find  choirs  now,  though  it 
is  by  no  means  clear  that  in  ancient  times  this  arrangement  was  not 
more  common. 

Instead  of  placing  the  principal  entrance  of  the  choir  at  the  west 
end,  as  in  France  and  England,  the  Spaniards  erected  in  the  middle  of 
their  churches  something  like  an  internal  double  apse  German  church, 
entering  it,  as  in  Germany,  on  the  north  and  south  sides  ojjposite  the 
transept  doors,  which  thus,  it  must  be  confessed,  acquired  a  meaning 
which  we  miss  in  the  more  common  arrangement.  Thvis,  instead  of 
having  the  space  east  of  the  transept  large  enough  to  contain  the  high 
altar,  and  the  stalls  of  the  clergy  and  choir,  they  made  it  generally 
only  one  or  two  bays  in  depth,  containing  merely  the  high  altar,  with  a 
screen  on  each  side.  The  space  in  the  centre  of  the  transepts  and 
under  the  cimhorio  is  unoccupied,  and  screened  off  by  railings  (cancelli)  ; 
and  the  whole  choir,  with  the  stalls  of  the  officiating  clergy,  is  to  the 
westward  of  the  intersection.  Whether  intentionally  or  not,  West- 
minster Abbey  is  now  arranged  according  to  this  plan,  and  if  the 
western  door  of  the  choir  were  blocked  up,  would  exactly  rejjrosent  a 
Spanish  cathedral. 

It  is  not  difficult  to  see  that  this  arrangement  is  derived  directly 
from  that  of  the  Koman  basilica.  Turning,  for  instance,  to  the  jilan  of 
St.  Clemente  (woodcut  No.  365),  the  choir  is  seen  to  project  exactly 
in  the  same  manner  into  the  nave.  When  there  were  transepts,  there 
was  an  open  space  in  front  of  the  cancelli  of  the  high  altar.  The 
difference  was,  that  the  enclosure  of  the  choir  in  the  basilicas  was 
only  a  low  wall,  3  or  4  ft.  high,  which  did  not  impede  the  view  of  the 
high  altar.  In  Spain  it  is  sufficiently  lofty  to  afford  a  back  to  the  high 
canopied  stalls,  which  in  all  Gothic  cathedrals  form  the  seats  of  the 
higher  clergy.  In  consequence  it  not  only  hides  the  high  altar  from 
the  principal  entrance,  but  is  a  most  unmeaning  interruption  to  the 


Chap.  T. 


ZAMOIJA— oyii:j)o. 


659. 


Cathedral  at  Zainora.    From  Villa  Aniil. 


general  ordinance  of  the  church.  It  is  evidently  an  architectural  ab- 
surdity on  entering  the  principal  doorway  to  see  nothing  before  you 
but  a  dead  wall,  and  to  he  obliged  to  turn  into  the  side  aisles  to  obtain 
an  entrance  to  the  sanctuary  of  the  temple.  The  transepts,  as  before 
remarked,  derive  benefit  from  this  method,  but  not  to  the  extent  to 
which  the  principal  entrance  loses ;  for  no  side  entrance  can  ever 
replace  the  dignity  of  one  opposite  to  the  principal  object  in  the  temple. 

Some  minor  arrangements,  which  are  peculiar,  will  be  noted  in  the 
sequel ;  but  this  is  so  important,  that  without  pointing  it  out  in  the 
first  instance  it  would  be  impossible  to  understand  what  follows. 

Of  the  older  churches,  all  that  we  know  are  in  the  neighbourhood 
of  Oviedo.  One  of  these,  Sta.  Maiia  de  Naranco,  is  said  to  have  been 
built  in  the  8th  century ;  another,  San  Miguel  de  Lino,  850  ;  a  third, 
S.  Julian,  about  the  same  time  ;  and  a  fourth,  Nuestra  Seiiora  de  la  Vega, 
in  the  12th  century.  Besides  these,  there  can  hardly  be  a  doubt  that 
many  other  similar  churches  are  scattered  through  the  Asturian  valleys. 


822 


SPANISH  AitciiiTi-xrruiiE. 


Book  VII. 


One  of  the  most  interesting  churches  in  lliis  ncighbouxhood  is  that 
of  St.  Isicloro  at  Leon,  which  Capt.  Widdrington  calls  I'yzantine,  mean- 
ing probably  merely  circular  arched.  Like  the  lihenish  cliurches,  it 
consists  of  three  aisles,  terminating  in  apses  to  the  eastward.  At  the 
west  end  is  the  Pantheon,  or  place  of  burial  of  the  ancient  kings. 
Capt.  AViddrington  describes  it  as  "low and  dark,  Avith  groined  arches, 
the  ceiling  ]iainted  and  ornamented  in  a  style  so  purely  and  entirely 
Byzantine,  that  beyond  doubt  the  artists  nnist  have  come  from  Constanti- 
nople." There  are  two  entrances,  apparently  lateral,  richly  sculptiu'ed, 
and  other  peculiarities,  which  render  this  one  at  least  of  the  most  inte- 
resting churches  of  its  age,  which  seems  to  be  alwut  the  1 1th  century. 

At  Zamora  there  is  a  cathedral,  part  of  which  (probably  the  walls 
shown  in  woodcut  No.  659)  dates  from  the  same  period  ;  but  the 
great  portal,  though  still  retaining  the  round  arch,  is  evidently  of  the 
12th,  if  not  of  the  13th  century;  for  here,  as  in  the  South  of  France, 
the  natives  adhered  to  the  old  form  with  a  pertinacity  rather  startling, 
when  we  consider  that  the  Moors  had  used  the  pointed  arch  for  manj^ 
centuries  befoi'e  that  time.  Another  church,  the  Madelaine,  in  the 
same  city,  possesses  a  noble  lateral  doorwa}^  of  the  11th  or  12th  cen- 
tury, and  both  internally  and  externally  is  less  altered  than  most 
churches  of  its  age.  The  vault  of  the  choir  is  the  pointed  tunnel-vault 
of  the  South,  and  is  mixed  with  round  foims  and  semi-Moorish  details 


cu;i. 


Collegiate  Church  at  Toro.     I'roni  Villa  Amil. 


Chap.  I. 


TOrJO— SEGOVIA. 


823 


661. 


St.  Will.in,  Segovia. 

Gailhabaud. 
Scale  100  ft.  tol  in. 


FYom 


ill  ii  iiiannev  inorc  incturosqiic  than  beautiful.  Externally,  these  pecu- 
liarities are  better  shown  in  the  Collegiate  Church  at  Toro  (woodcut 
No.  6G0),  which  disjilays  the  rich  lateral  doorway  of  this  age,  and 
introduces  us  to  the  tower-like  domes  (cimborio),  half  Moorish,  half 
Gothic,  which  are  so  characteristic  of  the  style. 

All  these  churches,  and  as  far  as  descriptions  are  intelligible, 
almost  all  those  erected  before  the  13th  century,  had  their  principal 
entrances  at  the  side ;  and  if  they  had  not  the  double  apse  of  the  Ger- 
mans, they  had  at  least  sometimes  a  tomb  or  baptistery  at  their  west 
ends.  If  this  was  the  general  rule,  as  appears 
to  have  been  the  case,  it  is  easy  to  understand 
how  the  Spaniards  came  to  separate  the  choir 
from  the  high  altar,  and  make  the  lateral  en- 
trances into  it  as  they  did. 

The  plans   of  two   other  churches   have 
recently   been   published   in  France   by  M, 
Gailhabaud;  one,  that  of  St.  Millan  (woodcut 
No.  061),  served  originally  as  cathedral  for 
Segovia  before  the  building  of  the  present  one, 
commenced  in  1525.    Though  small,  it  is  inte- 
resting for  the  peculiarities  of  its  structure, 
having  no  windows  but  those  at  the  west  end, 
and  some  very  small  ones  at  the  east.      It 
must   have   been   a  very  daik   and   gloomy 
edifice  even  without  painted  glass,  and  in  the  bright  climate  of  Spain. 
It  possesses  lateral  galleries, 
common  in  this  part  of  Spain, 
and  found  also  in  Germany. 
These    are    no    doubt    the 
lineal     descendants    of    the 
peristyles    of   the    Eomans, 
and   the    precursors    of  the 
clciisters  — •  or       peristyles 
turned  inwards — that  super- 
seded them  everywhere. 

The  other  is  a  circular 
church  of  the  Templars,  one 
(jf  the  few  of  that  form 
found  in  Spain,  copied  no 
doubt  from  the  church  of 
the  Holy  Sepulchre  at  Jerii- 
salcm.  Though  its  date  is 
1 204,  it  hardly  shows  a  trace 
1)1'  the  pointed  arch  inter- 
nally, its  doorway  is  pointed 
and  ornamented  with  the 
billet  moulding,  which  would 

1    ,         i-i;  1.  .  662.    Cluircli  (if  tlip  Templars  at  Segovia.     Xu  .state. 

date    titty    years   earlier    in 

England,  and  nearly  a  century  before    that   period   in   France.      Its 


824 


SPANISH  Al^CIilTECTURE. 


Book  VIT. 


internal  arrangement  is  pccnliar,  having  a  raised  tomb  or  vanlt  in  the 
centre;  and  altogetlicr  it  looks  nmcli  more  as  if  it  were  copied  from 
the  Dome  of  the  liock  than  from  the  church  now  known  as  the  Sepulchre 
at  Jerusalem. 

'.riiis  is  a  meagre  account  of  a  great  style ;  but  the  Romanesque 
styles  of  the  South  of  France  have  been  described  above  purposely  at 
considerable  length,  because  of  their  prevalence  over  the  whole  district 
from  Aries  and  Avignon  to  Zamora  and  Segovia.  These  styles  were 
gradually  elaborated  from  Roman  architecture,  specimens  of  which 
covered  these  lands.  That  part  of  them  found  on  the  French  side  of 
the  Mountains  is  now  tolerably  known  ;  though  to  complete  our  know- 
ledge we  require  to  be  able  to  compare  them  with  the  Spanish  branch. 
We  have  already  seen  that  the  latter  was  characterised  by  a  stronger 
affinity  with  the  Gothic  style  which  appeared  on  the  banks  of  the 
Rhine  and  the  Po,  as  contradistinguished  from  the  Romanesque  tenden- 
cies of  the  Southern  provinces  of  France. 

Pointed  Style. 

With  the  very  imperfect  materials  at  our  command  it  is  impossible 

to  say,  with  anything 
like  confidence,  when 
the  pointed  style  was 
introduced  into  Spain. 
It  is  almost  quite  cer- 
tain that  the  Saracens 
used  the  pointed  arch 
in  that  coimtry  as  early 
at  least  as  the  10th  cen- 
tury, though,  as  before 
remarked,  they  always 
in  Spain  preferred  the 
Roman  circular  shape, 
but  stilted  so  as  to 
get  the  same  elevation 
which  the  broken  arch 
gave. 

It  is  also  evident 
that  in  the  11th  cen- 
tury, if  not  before,  the 
pointed  vault  and  con- 
structive arch  of  the 
South  of  France  were 
also  used  on  this  side 
of  the  Pyrenees ;  but 
neither  of  these  belong 
to  the  pointed  Gothic 
style,  of  which  I  am  not 
aware  of  any  example 
eailier  than  the  reign  of  Ferdinand  the  Saint  (1217).     The  cathedral 


663.         Cathedral  of  Leon.     From  Ponz  (' Viage').    No  scale. 


Chap.  I. 


POINTED  STYLE— BURGOS  CATHEDRAL. 


825 


of  Leon,  or  some  ]r,\rt  of  it,  may  bo  a  little  older,  and  ( 'apt.  A\  iddringtuii 
seems  to  say  that  lie  is  al)le  to  prove  that  French  and  German  architects 
were  employed  by  the  kings  of  Leon :  if  so,  the  cathedral  must  have 
been  the  work  of  a  Frenchman,  as  it  is  a  regular  chevet  church,  com- 
menced in  1199,  though  the  greater  part  of  the  superstiTicture  is  of  a 
much  later  date.  Were  it  not  for  the  disfigurements  of  modern  times, 
this  would  be  one  of  the  most  beautiful  cathedrals  in  Spain:  "pro- 
verbially," says  Ford,  "it  is  one  of  the  most  graceful  and  elegant  in 
the  world."  Capt.  Widdrington  gives  the  preference  to  its  neighbour 
of  Oviedo,  which  he  says  is  the  most  beautiful  of  all  the  cathedrals  of 
Spain,  although  in  scale  it  mtxst  yield  to  many  of  them. 

Although  the  plan  here  given  (woodcut  No.  663)  from  Ponz 
(' Viage')  is  not  quite  to  be  depended  upon,  it  explains  so  fully  the 
position  of  the  choir  (a)  and  capilla  maior — or  chapel  of  the  High 
Altar  (b) — in  Spanish  cathedrals,  that  it  is  worth  quoting. 

This  building  differs  fi'om  a  French  cathedral  of  the  same  date 
mainly  in  the  greater  importance  of  the  parts  to  the  west  of  the  tran- 
sept, and  of  the  lateral  entrances. 

The  cathedral  of  Burgos  (woodcut  Xo.  QQA)  has  been  better  illus- 
trated than  thatof 
Leon,  and  being 
on  the  high  road 
of  all  travellers, 
has  been  fre- 
quently sketch- 
ed, but  not  mea- 
sured, which  is 
the  moi'e  to  be 
regretted,  as  it 
is  probably  the 
most  characteris- 
ti  c  cathedral  in  all 
Spain,  presenting 
both  internally 
and  externally  all 
the  peculiarities 
of  the  style  more 
perfectly  than 
any  other. 

It  was  founded 
in  the  reign  of  St. 
Ferdinand,  aboiit 
the  year  1221, 
and  the  gi-eater 
part  of  the  east 
end  and  body  of 
the  chxirch  be- 
longs to  the  early  part  of  the  13th  century.  The  west  front  (woodcut 
No.  665)  was  added  two  centuries  afterwards,  the   capilla  condestable 


604. 


Cathedral  nt  Burgos.     From  Ponz.    No  .scale. 


82G  SPANISH  AUCHITECTUIIE.  Book  VII. 

•(a) — so  c;i11(m1  from  liaving  hoon  oroctcfl  as  the  buryino;  place  of  the 
\'elasco  family,  liciedilary  constables  of  Castillo — at  the  very  end  of 


■■      •-./-.;_  i>"\:t.  ,-     x.i-<«-- -----V  _     _i    V.   -J'l.., 

GCj.  W'csl  IruiiL  ol  liiiiyuo  Cuthcilial.     liuiu  L'liapuy,  Aloyen  Age  Muiiumental. 

the  15th  :  and  the  cimborio  was  not  completed  till  1507,  the  older  one 
having  fallen  down  in  1539.  This  long  range  of  dates  causes  of  course 
some  incongruities  of  style,  but  without  impairing  the  geneial  effect. 
The  varied  richness  of  the  outline  is  inirivalled  by  that  of  any  French 


Chap.  T. 


CA'I'llKDlIAI.  AT  VALENCIA. 


82- 


or  German  catliodral.  ami  matched  only  by  sonic  of  onr  own  En<;ii.s]i 
examples.  The  western  facade  is  a  (jierman  importation,  having  heen 
erected  by  two  masons  from  Cologne,  who  carried  ont  in  a  foreign  land 
the  design  Avhich  their  countrymen  were  unable  to  complete  in  the 
land  of  its  invention.  It  is  in  fact,  with  the  exception  perhaps  of  the 
cathedial  of  licrne,  the  only  design  of  this  class  that  has  been  completed 


666. 


Cimlmrio  orCulliciIral  at,  V^deinia. 


•with  the  two  open-work  spires ;  and  though  the  dimensions  are  small, 
the  height  being  only  280  ft.,  the  effect  is  remarkably  good.  P)efore 
the  removal  in  the  last  century  of  the  dee})ly  recessed  and  scTd])turcd 
portals,  this  fayadc  must  have  been  one  of  the  most  beaiitiful  composi- 
tions in  existence.  From  its  late  date,  there  are  of  course  some  impu- 
rities of  style  ;  but  to  compensate  for  this,  there  is  a  richness  of  fancy 


B28  SrANISH  ARCHITECTURE.  Book  VII. 

and  a  half  Oiiciital  exuberance  of  design  that  more  than  redeem  it, 
and  make  it  altogether,  perhaps,  a  more  heantiful  thing  than  its  gigantic 
rival  on  the  Khine  will  ever  he,  with  all  its  cold  perfection  of  masf)nr3\ 
I'ho  height  of  the  towers  is  said  to  be  equal  to  the  length  of  the  building. 
They  would  thus  have  a  tendency  to  overpower  the  rest,  were  it  not 
for  the  central  octagon,  and  still  more  for  the  great  octagonal  structure 
of  the  chapel  of  the  Condestable,  which  rises  beyond  the  eastern  apse 
and  balances  the  whole,  making  the  cathedral  appear  longer  than  any 
other  of  the  same  dimensions.  The  cimborio  itself  was  erected  in  the 
reign  of  Charles  V.,  and  cannot  boast  of  much  beauty  of  detail.  Its 
outline,  however,  is  probably  copied  from  that  of  the  building  it 
replaced,  and  is  certainly  singularly  happy :  as  it  is,  it  may  be  taken 
as  the  latest  example  of  a  favourite  Spanish  form,  of  which  that  at 
Toro,  shown  in  woodcut  No.  660,  is  one  of  the  earliest ;  and  this  (wood- 
cut No,  666),  from  the  cathedral  at  Valencia,  a  fair  intermediate  spe- 
cimen. They  are  one  of  the  most  striking  and  characteristic  features 
of  the  style,  the  want  of  which  is  much  felt  in  all  Fj-ench  cathedrals, 
except  those  of  Normandy,  where,  as  in  England,  this  centering  of  the 
design,  if  we  may  so  call  it,  was  carefully  attended  to.  But  the  cim- 
borios  have  less  analogy  to  the  central  spires  used  on  both  sides  of  the 
Channel  than  to  the  domes  which  in  Italy  and  Germany  so  commonly 
mark  the  intersection  of  the  nave  and  transepts,  and  Avhich  after- 
wards grew  into  the  great  Renaissance  domes  of  St.  Peter  and  its 
imitations. 

Internally  the  arrangement  of  the  cathedral  of  Burgos  is  very  like 
a  French  church  of  the  same  age,  the  choir  (b)  only  being  arranged  in 
the  Spanish  mode.  The  capilla  maior  (o),  or  the  part  eastward  of  the 
transept,  is  longer  in  propoiiion  than  is  usually  the  case  in  this  country, 
and  it  is  now  so  overgrown  with  chapels  that  it  is  difficult  to  make 
out  what  the  original  design  was.  Of  these  last  the  most  remarkable 
is  that  of  the  Condestable  alluded  to  above.  It  is  not  large,  being  only 
about  45  ft.  in  diameter,  but  nothing  can  exceed  the  extraordinary 
elaborateness  of  its  decorations.  In  this  respect  it  surpasses  even 
Henry  VII.'s  chapel  at  Westminster.  Indeed  it  is  only  in  S^jain  that 
perfect  ahandoii  as  regards  expense  and  finish  is  to  be  found.  If  any 
Gothic  bvulding  exists  of  eqiial  richness,  it  is  Eoslin  chapel ;  the  design 
of  which  was  most  probably  imported  from  this  part  of  Spain,  every 
detail  and  form  being  easily  traced  back  to  the  Castilles  or  the  neigh- 
bouring provinces.  Better  taste,  it  is  true,  might  be  foimd  elsewhere, 
but  in  buildings  of  so  late  an  age  we  must  be  content  with  the  display 
of  labour,  guided,  as  in  this  case,  with  some  degree  of  taste,  before  the 
invasion  of  vulgarity  which  took  its  place  in  the  succeeding  century. 

A  similar  chapel  to  this  is  attached  to  the  cathedral  of  Murcia, 
called  the  Capilla  Marchese.  Internally  this  is  as  lich  and  nearly  ai. 
beautiful  as  that  at  Burgos,  though  its  external  outline  is  very  inferior. 
The  most  splendid  specimen  of  its  class,  however,  is  that  which 
Emanuel  the  Fortunate  commenced  as  a  burying  place  for  himself 
behind  the  altar  of  the  church  at  Batalha,  of  which  more  hereafter. 

The  cathedral  of  Toledo  was  commenced  about  the  same  time  as  that 


ClIAl'.   I. 


CATHEDRAL  AT  TOLEDO. 


829 


of  Burgos,  but  on 
a  lai'ger  scale,  be- 
ing, with  the  ex- 
ception of  Se- 
ville, the  largest 
of  Spanish  medi- 
ixixal  cathedrals. 
Its  internal  di- 
mensions are  : — 
"Length,  includ- 
ing a  moderately 
sized  chapel  at 
the  eastern  end, 
aoO  ft.;  width 
throughout,  1 74 
ft.  ;  height  of 
principal  nave 
and  transept  12(J 
ft.  The  width  is 
<livided  into  5 
aisles,  those  on 
the  outside  rising: 
to  about  two- 
thirds  the  height 
of  those  next 
the  centre,  and 
these  to  about 
one-half  the  cen- 
tral aisle.'"  Its 
arrangement  in 
plan  is  apparent- 
ly almost  identi- 
cal with  that  of 
Troyes  cathedral 
(woodcut 
551),  but 
dimensions 
somewhat 
Its     details 


No. 


its 
are 

less. 

are, 


'  Wells,  Picturesque 
Antiquities  of  Spain, 
p.  128,  whose  dimen- 
sions 1  have  followed 
in  preference  to  those 
of  I'onz,  quoted  by 
Ford,  as  more  con- 
sistent with  each 
other,  and  with  pro- 
habilitv. 


667 


View  in  (he  Clioir  of  the  Cathedral  at  Toledo.    From  Villa  Amil. 


S30  SPANISH  ARCHITECTURE.  Book  Vil. 

generally  speaking,  those  used  in  France  and  England  in  the  begin- 
ning of  the  13th  century,  though  its  locality  occasionally  shows  itself 
in  the  Jloorish  chaiacter  of  some  of  its  parts.  The  triforium  for  in- 
stance seen  in  woodcut  No.  0()7  is  throughout  decidedly  Morcsco,  and 
a  practised  eye  will  detect  on  every  side  a  tendency  to  depart  from  the 
sober  constimctive  rules  of  the  pure  Gothic,  and  to  give  rein  to  an 
Oriental  exuberance  of  fancy  which  is  so  typical  of  the  style. 

The  cathedral  of  Toledo  is  even  more  remarkable  for  the  richness 
of  its  fui'uiture  than  for  that  of  its  architecture.  The  altars,  the  screens 
of  the  tombs,  the  candelabra,  the  paintings  on  glass  and  canvas,  make 
up  a  mass  of  ornament  to  which  no  parallel  is  to  be  found  in  France  or 
England.  Many  cathedrals  in  these  countries  may  once  have  possessed 
furniture  equally  rich ;  but  spoliation  and  neglect,  and,  worse  than 
either,  the  so-called  spirit  of  improvement,  have  swept  most  of  this 
away,  and  it  is  in  Spain  only  that  we  are  carried  into  the  bodily  pre- 
sence of  a  mediaeval  church.  Even  Toledo  has  been  sadly  disfigured 
with  whitewash ;  and  neglect  and  poverty  are  fast  fulfilling  the 
destructive  mission  of  the  age.  Still  enough  remains  to  enable  the 
architect  to  understand  and  re-create  the  glorious  vision  of  a  cathedral 
as  it  appeared  in  ancient  days. 

Externally  this  cathedral  is  very  inferior  to  that  at  Burgos.  Only 
one  of  its  western  towers  has  been  completed,  and  this  not  in  the  best 
taste.  Its  cimborio  is  unimportant,  and  there  is  no  towering  eastern 
capilla  to  carry  the  eye  beyond  the  precincts  of  the  church  itself. 

The  cathedral  of  Seville,  the  largest  and  grandest  ecclesiastical 
edifice  in  Spain,  is  an  exact  counterpart  of  that  of  Milan.  It  is  not 
knoMai  who  its  architect  was,  but  he  must  have  been  a  foreigner,  and 
most  probably  a  German,  as  no  Spaniard,  especially  in  the  south,  could 
have  restrained  his  fancy  to  the  comparative  purity  of  its  forms.  Its 
plan  is  very  peculiar,  o'odng  to  its  having  been  built  in  the  fonn  and 
of  the  exact  dimensions  of  a  mosque  which  stood  on  the  spot  till  1401. 
It  was  then  pulled  down  to  make  way  for  the  cathedral,  which  was 
completed  118  years  afterwards.  Its  foiTa  is  a  parallelogram  of  about 
372  ft.  by  270,  covering  therefore,  as  near  as  may  be,  100,000  square 
feet,  exclusive  of  the  royal  sepulchral  chapel — a  cinque-cento  addition 
to  the  eastern  end.  With  this,  its  area  is  nearly  identical  with  that 
of  Milan,  and  it  betrays  in  all  its  parts  the  same  want  of  knowledge  of 
the  trae  principles  of  Gothic  design.  Xotwithstanding  all  this,  it  is  so 
grand,  so  spacious,  and  so  richly  furnished,  that  it  is  almost  impossible 
to  criticise  when  the  result  is  so  splendid  and  imposing.  The  eifect 
of  its  exterior  is  even  worse  than  that  of  Toledo,  and  but  for  the  mag- 
nificent Moorish  Giralda,  represented  above  (woodcut  No.  361),  that 
stands  at  its  north-eastern  corner,  it  would  scarcely  possess  a  single 
remarkable  external  feature. 

The  central  aisles  of  the  nave  and  transept  are  each  5G  ft.  wide  from 
centre  to  centre  of  the  pillars  ;  the  side  aisles  are  40  ft. ;  so  that  the 
distance  of  the  diagonal  pillars  of  each  square  compartment  of  the  side 
aisles  is  exactly  equal  to  the  width  of  the  central  nave.  It  thus  happens 
that   if    the    4   central    pillars  at    the    intersection  of  the    nave   and 


CUAP.  I. 


CATHEDRAL  AT  SEVILLE. 


831 


transept  were  loft  out,  the  8  next  would  forni  a  perfect  octagon.  As 
was  remarked  in  speaking  of  Jain  a  temples  (p.  77),  this,  which  is  tlic 
proportion  always  used  in  them,  is  pleasing  for  huildhigs  which  have 
roofs  of  the  same  height,  bnt  is  not  sufficient  where  the  roof  of  one 
aisle  is  liigher  than  that  of  another ;'  and  though  the  diiference  in 
height  is  in  about  the  same  ratio  here,  this  is  not  sufficient  for  contrast, 


668. 


■J 


'-s^ 


m 


-^.^ 


-^?. 


IS 


[^ 


m 


r_j 


^    1^=^ 


~^J- 


.'\ 


<*if^ 


f^      f^~ 


_/ 


%,(^ 


i 


_?^ 


^  ^ 


-■j~ 


Plan  of  Calbetlral  at  Seville.    Scale  100  ft.  to  1  in. 


and  all  the  pillars  being  of  the  same  thickness  and  of  the  same  design, 
there  is  too  gi'cat  uniformity  of  dimensions  and  a  want  of  suboixlination 
of  parts  which  prevents  this  church  from  looking  so  large  as  it  really  is. 
It  would  be  impossible  to  render  the  architecture  of  the  remaining 
cathedrals  of  Spain  intelligible  without  a  mass  of  illustration  which  is 
not  available.     Some  of  these,  however,  are  well  worthy  the  attention 


'  I  am  not  aware  of  this  proportion  having  been  usei'i  in  any  other  Gotiiic  church  of  im- 
portance. 


832  SPANISH  ARCHITECTURE.  Book  VII. 

of  artists,  besides  their  liistorical  importance.  That  of  Santiago,  for 
instance,  though  entirely  modernised  externally,  still  retains  in  the 
interior  many  of  the  features  of  a  church  (jf  the  12th  century,  and  is 
remarkable  for  the  bold,  massive  appearance  of  strength  -vvliich  cha- 
racterised that  age.  The  same  may  be  said  of  the  cathedral  of  Cuenca, 
a  building  (if  the  same  period,  with  a  simple  circular  apse,  and  a 
certain  amount  of  ^Moorish  detail  and  feeling  Avhich  Avas  sure  to  mai'k 
its  more  southern  locality.  Those  at  Tairagona  and  Barcelona  are 
both  remarkable  buildings.  The  latter  esiiecially,  commenced  in  1298, 
is  the  typical  example  of  the  Catalonian  style.  So  far  as  Ave  have 
means  of  judging,  it  seems  to  haA^e  been  a  failure  as  a  Gothic  design, 
though  displaying  considerable  grandeur. 

Salamanca  possesses  tAvo  cathedrals,  one  commenced  in  1102,  simple 
and  massive,  half  a  fortress;  the  other  begun  in  1513,  a  florid  specimen 
of  the  last  age  of  Gothic  art,  just  before  changing  into  the  Eenaissance. 
So  too  at  Segovia :  the  old  cathedral  has  already  been  spoken  of  (p. 
823);  the  ncAV,  begun  in  1525,  on  the  model  of  that  of  Salamanca,  sIioaas 
the  style  in  its  last  age.  The  old  cathedral  of  Saragoza  (the  Seo)  is 
somcAvhat  older,  probably  of  the  15th  century,  and  a  fair  specimen  of 
the  Spanish  style  of  that  age,  perhaps  not  much  inferior  to  the  cou- 
temporaiy  styles  in  the  north  of  Europe,  but  still  a  sad  falling  off  from 
the  purer  Gothic  that  preceded  it. 

The  gem  of  this  age  is  the  chnrch  of  St.  Juan  de  los  Eeyes  at 
Toledo,  erected  by  Ferdinand  and  Isabella,  and  ornamented  Avith  all 
the  laA'ish  exuberance  Avhich  the  AA^ealth  of  the  Ncav  World  could 
supply  in  aid  of  the  earnest  bigotry  of  its  royal  founders.  It  is  to 
the  Spanish  style  AA^hat  Henrj^  VII. 's  Chapel  is  to  the  English,  or 
the  Eglise  de  Brou  to  the  French,  suii^assing  both  in  richness  of 
detail,  but,  like  them,  depending  far  more  on  ornament  than  on  design 
for  its  effect. 

Some  parts  of  the  church  of  San  Miguel  at  Xeres  exceed  even  this 
in  richness  and  elaborateness  of  ornament,  and  surpass  anything  foiind 
in  Northern  cathedrals,  unless  it  is  the  tabernacle-A\'ork  of  some  tombs, 
or  the  screens  of  some  chapels.  In  these  it  is  alAA-ays  applied  to  some 
small  and  merely  ornamental  parts.  In  Spain  it  frequently  is  spread 
over  a  Avhole  church,  and,  as  in  this  instance,  Avhat  in  a  mere  sub- 
ordinate detail  Avould  be  beautiful,  on  such  a  scale  becomes  fatiguing, 
and  is  decidedly  in  A'ery  bad  taste. 

Slightly  subsequent  to  these  are  the  cathedrals  of  Granada  and 
Jaen,  A^•here  the  features  of  the  Gothic  style  are  so  blended  Avith  those 
of  the  so-called  Eevival,  that  it  would  be  easy  to  claim  them  for  eithei" 
class.  In  eA^ery  other  country  of  Europe  at  this  age  the  Eefonnation 
had  stopped  church-building  altogether,  CA'cn  in  those  countries  A\-hieh 
remained  Catholic,  except  in  Italy,  and  there  the  revived  classical  style 
had  wholly  superseded  the  Gothic.  The  case,  however,  was  widely 
different  in  Spain.  Here  the  old  faith  was  never  shaken.  The  country 
had  but  lately  become,  by  the  marriage  of  Ferdinand  and  Isabella, 
for  the  first  time  a  united  monarchy.  In  their  reign  the  discoA-ery  of 
Columbus  had  opened  to  Spain  a  ncAV  world  and  the  most  brilliant 


Chap.  I.  DEGRADED  TASTE.  833 

prospects.  Tlio  final  expulsion  of  tlie  Moors  liatl  thrown  into  tlio  liantLs 
of  the  Churcli  unhoxinded  wealth  and  power,  and  at  the  same  time 
insj)ired  it  with  the  zeal  which  has  ever  prompted  the  expenditure 
of  such  wealth  on  monuments  for  public  use  before  it  became  absorbed 
in  individual  selfishiiess.  All  these  causes  made  this  the  great  eatlie- 
dral-buildiiig  age  of  Spain,  and  had  the  Spaniards  designed  with  the 
bokl  simplicity  of  their  forefathers,  the  money  then  spent  would  have 
covered  the  land  with  the  noblest  buildings  Europe  could  boast  of.  But 
tlie  spirit  of  former  times  was  past,  and  the  expenditure  was  frittered 
away  on  caiwed  ornaments  of  most  elaborate  minuteness,  and  on 
details  which  are  mere  proofs  of  wealth  and  degraded  taste.  These 
characteristics  are  peculiar  to  Spain,  where  alone  this  transitional 
style  can  be  studied  with  completeness  or  advantage.  Notwithstanding 
its  defects,  it  is,  it  must  be  confessed,  a  fascinating  display  of  brilliant 
littleness,  the  best  of  its  kind,  and  in  its  prettiness  often  making  us 
forget  that  there  is  something  better  and  higher  which  neither  wealth 
nor  power  can  command  unless  combined  with  the  simplicity  of  true 
greatness. 


3  II 


^'■^■^  SPANISH  ARCHITECTURE.  Bock  VH. 


CHAPTER    IL 
SPAIN    AND   PORTUGAL. 

CONTENTS. 
P(n-tiigal  —  Church  of  Batalha  —  Cloisters  —  Castles  —  Moresco  style  —  Towei's'. 


So  little  attention  has  been  paid  to  the  subject  of  Gothic  architecture 
in  PortiTgal,  that  it  is  by  no  means  clear  whether  it  contains  any 
churches  of  interest  belonging  to  that  style.  There  are  certainly  some 
remains  at  Belem  near  Lisbon,  and  some  fragments  at  least  elsewhere ; 
but  those  who  have  described  them  are  so  little  qualified  for  the  task 
by  previous  study,  that  it  is  impossible  to  place  reliance  on  the 
correctness  of  their  assertions  regarding  them.  One  church,  however, 
that  at  Batalha,  has  met  with  a  different  fate,  and  having  arrested  the 
attention  of  Mr.  Murphy,  "  the  illustrator  of  the  Alhambra,"  was  drawn 
and  published  by  him  in  a  splendid  folio  work  at  the  end  of  the  last 
century.  As  might  be  supposed  frum  the  date  of  this  work,  the 
illustrations  do  not  quite  meet  the  exigencies  of  modern  science,  but 
it  is  at  all  events  by  far  the  best  illustrated  church  in  the  Peninsula. 
It  seems  in  some  respects  to  be  worthy  of  the  distinction,  being 
probably  the  finest  church  in  the  kingdom. 

It  was  erected  by  King  John  of  Portugal,  in  fulfilment  of  a  vow 
made  during  a  battle  with  his  namesake  of  Spain  in  the  year  1385,  and 
completed  in  all  essentials  in  a  very  short  period  of  time.  From  the 
plan  (woodcut  No.  669)  it  will  be  seen  that  the  form  of  the  original 
church  is  that  of  an  Italian  basilica — a  three-aisled  nave  ending  in  a 
transept  with  five  chapels ;  the  whole  length  internal^  being  204  ft., 
the  width  of  the  nave  72  ft.  4  in.  It  is  the^-efore  a  small  building- 
compared  with  most  of  the  Gothic  churches  hitherto  described.  To 
the  right  of  the  entrance,  under  an  octagonal  canopy  which  once  sup- 
ported a  German  open-work  spire,  are  the  tombs  of  the  founder  and  of 
his  wife  Philippa,  daughter  of  John  of  Gaunt ;  beyond  this  the  octagon 
expands  into  a  square,  in  a  very  Eastern  fashion,  to  accommodate  the 
tombs  of  other  members  of  the  royal  family  who  are  biu'ied  around. 
The  whole  design  of  this  part  is  one  of  the  most  suitable  for  a  family 
sepulchre  to  be  found  anywhere.  The  wonder,  however,  of  the  Batalha, 
or  rather  what  would  have  been  so  had  it  been  completed,  is  the  tomb- 
house  which  Emanuel  the  Fortunate  commenced  for  himself  to  the 
eastward  of  the  church.  Similar  chapels  at  Burgos  and  Murcia  have 
already  been  noticed,  but  this  was  to  have  surpassed  them  all,  and  if 
completed  would  have  been  the  most  gorgeous  mausoleum  erected 
duiiiig  the  middle  ages. 


CiiAi'.  TI. 


BATALTIA. 


885 


It  is  curious  to  observe  how  the  tradition  of  the  circular  loiiih-hduse 
behind  the  altar  remained  constant  in  remote  provinces  to  the  latest 
age.  The  ])lau  of  this  church  is  virtually  that  of  St.  Beuio'no  at  Dijon, 
of  St.  Martin  at  Toui-s,  and  of  other  churches  in  Aquitania.'  It  is 
easy  to  see  liow  by  removing  the  intermediate  walls  this  basilica 
would  become  a  chevet  church,  complete  except  for  the  diftbrence  in 
the  span  of  the  two  parts  of  the  building.  TIad  the  mausoleum  been 
finished,  something  of  that 
sort  Avould  probably  have 
been  done. 

The  plan  of  this  tomb- 
house  is  interesting  as  being 
that  of  the  largest  Gothic 
dome  attempted,  and  shows 
how  happily  the  Gothic 
forms  adapt  themselves  to 
this  purpose,  and  how  easily 
any  amount  of  abutment  may 
be  obtained  in  this  style 
with  the  utmost  degree  of 
lightness  and  the  most  ad- 
mirable play  of  perspective  ; 
indeed  no  constructive  diffi- 
culties intei'vene  to  prevent 
this  dome  having  been  twice 
its  present  diameter  (65  ft.)  ; 
and  had  it  been  so,  it  would 
have  far  surpassed  Sta.  Maria 
del  Fiore  and  all  the  pseudo- 
classical  arrangements  that 
have  since  disfigured  the  fair 
face  of  Europe. 

Generally  speaking,  nei- 
ther the  proportions  nor  the 
details  of  this  church  are 
good  ;  it  was  erected  in  a 
country  where  the  principles 
of  Gothic  art  were  evident- 
ly misajjprehended  or  un- 
known, and  where  a  lavish 
amount  of  expenditure  in 
cai-ving  and  ornament  was  thouglit  to  be  the  best  means  of  attaining 
beauty.  The  church  from  this  cause  may  almost  be  considered  a 
failure  ;  its  two  sepulchral  chapels  being  in  fact  by  far  the  most  inte- 
resting and  beautiful  parts  of  the  sti-ucture.  It  is  observable  how  much 
better  the  open-work  spire  agrees  with  the  semi-Oriental  decoration  of 
the  churches  botb  of  liurgos  and  Batalha  than  with  the  soberer  fonns 


669. 


Plan  of  Ibo  Clmrch  at  Batalha. 
Scale  100  ft.  to  1  in. 


From  Muipliy. 


'  See  Part  II.,  Book  III.,  Clinp.  II.,  puficularlv  woodcuts  494,  496. 

3  H  2 


83G  SPANISH  ARCHITECTURE.  Book  VII. 

of  the  more  Northern  stylo.  One  would  almost  be  tempted  to  fancy 
that  the  Germans  borrowed  the  idea  from  Spain  rather  lluin  that  the 
latter  couutiy  imported  it  from  the  North.  Till  we  know  more  of  the 
age  of  the  cathedrals  of  Leon,  Ovicdo,  and  other  cities  of  the  north  of 
kSpaiu,  this  jioint  cannot  be  determined  ;  bnt  it  seems  by  no  means  cer- 
tain that  such  further  knowledge  will  not  compel  thei  Germans  to  resign 
their  claim  to  this  their  only  alleged  invention  in  the  pointed  style. 

Next  in  importance  to  that  at  Batalha  is  the  church  at  Alcobaca, 
commenced  in  the  year  1148,  and  finished  in  1222.  It  is  a  simple  and 
grand  Cistercian  abbey-church,  not  unlike  that  at  Pontigny  (woodcut 
No.  658)  in  style.  Its  total  length  is  360  feet ;  its  height  about  64.  Tlie 
nave  is  divided  from  the  side  aisles  by  12  piers,  the  arches  of  which 
support  vaults  of  the  same  height  over  the  three  divisions — a  circum- 
stance which  miist  detract  considerably  fi"om  the  beauty  of  its  propor- 
tions. The  east  end  is  terminated  by  a  chevet  (called  by  the  Por- 
tuguese a  charola)  with  9  chapels. 

The  monastery  which  was  attached  to  this  church,  and  which  was 
cine  of  the  most  splendid  in  the  world,  was  burnt  by  the  French  in 
their  retreat  from  Portugal. 

At  Coimbra  there  are  still  some  remains  of  Gothic  churches ;  the 
principal  of  these  is  the  old  cathedral,  which,  though  much  destroyed, 
still  retains  many  features  belonging  to  the  early  part  uf  the  12th 
century,  when  it  was  built. 

In  the  same  town  is  the  church  of  Sta.  Cruz,  rebuilt  by  French 
architects  in  the  year  1515,  in  the  then  fashionable  flamboyant  st3de 
of  their  country  ;  and  in  complete  contrast  to  this  is  the  small  but 
interesting  Round  Gothic  church  of  St.  Salvador,  erected  about  the 
year  1169  a.d. 

The  other  churches,  such  as  those  of  Braga,  Guimaraens,  &c.,  seem 
to  have  been  of  late  flamboyant  style,  and  generally  are  so  much 
mudernised  that  the  little  beauty  they  ever  possessed  is  concealed  or 
destroyed  by  modern  details.' 

Cloisters. 

As  might  be  expected  from  the  enormous  wealth  of  the  Spanish 
clergy,  and  the  number  of  convents  and  establishments  of  that  class, 
the  country  is  rich  in  cloisters  and  in  the  usual  monastic  buildings 
that  accompany  them.  The  older  cloisters  are  very  similar  in  design 
to  those  of  the  south  of  France.  That  at  Gerona  is  perhaps  heavier 
and  more  massive  than  any  found  in  that  country ;  but  that  of  the 
royal  convent  of  the  Huelgas,  near  Burgos  (woodcut  No.  670),  is 
unrivalled  for  beauty  both  of  detail  and  design,  and  is  perhaps  \insur- 
passed  by  an}i:hing  of  its  age  and  style  in  any  part  of  Europe.     AVith 


'  On  the  whole,    perhaps,    tlie   assertion  not  150  old  churches  in  the  kingdom  ;  the 

contained  in  the  '  Handbook  of  Portugal '  is  French  invasion,  the  great  earthquake,  and 

not  exaggerated.     It  is  there  said  that  "  no  the  rage  for  rebuilding  in  the  18th  century 

European  country  has  less  interesting  eccle-  have  destroyed  nearly  all." 
siology  than  Portugal  :    there  are  certainly 


Chap 


CLOISTEUa  —  HUELGAS. 


837 


tliosc  of  Germany,  France,  and  Sicily,  it  makes  up  a  series  of  arcacled 
alleys  as  exquisitely  beautiful  as  are  to  be  found  in  any  other  age 
or  clime.  In  the  14th 
century  the  Spaniards 
adopted  the  universal 
fashion  of  making  their 
cloisters  A\T.th  unglazed 
windows,  being  im- 
pelled to  this  by  the  ne- 
cessities of  the  mode 
of  vaulting  which  then 
came  into  use.  Although 
this  certainly  appears  to 
have  been  a  mistake, 
still  it  accorded  with 
Spanish  details  perhaps 
more  happily  than  with 
those  of  any  other 
country ;  for  the  rich 
abundance  of  ornament 
which  was  offensive  in  a 
large  and  solemn  church 
was  appropriate  in  a 
cloister,  and  as  the  cli- 
mate naturally  impelled 
the  Spaniards  to  indulge 
in  the  luxury  of  deeply- 
shaded  arcades,  it  is 
little  wonder  that  we 
find  them  so  successful 
in  their  treatment  of 
this  indispensable  ad- 
junct to  a  church  of 
any  consideration. 

The  other  parts  of 
the  monastic  buildings 
are  almost  wholly  un- 
known to  us,  either  from  the  drawings  of  artists  or  the  descriptions  of 
travellers — a  deficiency  perhaps  not  wholly  owing  to  neglect  on  their 
part,  but  in  some  measiTre  to  the  circumstance  of  the  monasteries  and 
the  cathedral  closes  having  been  occupied  wp  to  the  present  day. 
W  hen  this  is  the  case,  it  is  almost  impossible  but  that  they  must  have 
been  modernised  to  suit  the  tastes  and  exigencies  of  successive  times, 
and  have  lost  in  consequence  all  the  grace  and  beauty  they  once  pos- 
sessed. Many  fragments  exist  in  the  remoter  parts  of  the  coimtry ; 
and  as  they  were  the  residences  of  the  richest  clergy  of  T^urope,  they 
cannot  fail  to  reward  the  research  of  any  careful  inquirer. 


67n.  Cloister  of  the  Huelgas,  near  Burgos.     From  Villa  Amil. 


838 


SPANISH  ARCPIITECTUKE. 


Book  VIT. 


Castles. 

Though  the  cloisters  have  thus  in  most  instances  been  modernised, 
it  is  not  so  -with  the  castles,  which  have  escaped  alteration  owing  to 


611. 


Castle  of  Cocos,  Castille.     Fiom  Villa  Ainil. 


their  use  having  passed  away,  Avhile  their  greater  solidity  and  strength 
have  better  enabltHl  them  to  resist  the  eifects  of  time.  Many  of  them, 
with  their  tall  towers  and  clustering  turrets,  still  strike  the  travellei- 
on  the  plains  of  Castille,  and  tell  of  a  people  differing  esseutiallj"  from 
those  of  all  other  nations  of  Europe,  and  no  less  so  from  those  in  the 
more  southern  and  eastern  regions  of  Spain  itself. 

If  we  may  judge  by  such  drawings  as  we  have,  the  castle  of  Cocos 
in  Castille  (woodcut  Xo.  671)  is  one  of  the  best  preserved  and  most 
characteristic  of  those  now  remaining,  and  certainly  is  a  fair  specimen 
of  its  class,  uniting  in  itself  most  of  the  features  of  the  mixed  style  to 
which  it  belongs.  The  Alcazar  at  Segovia  is  another  well-knoMoi  and 
singidarly  picturesque  castle,  having  the  advantage  of  standing  on  a 
tall  rocky  base,  to  which  it  fits  most  artisticall}'.  Others  might  be 
selected,  but  such  military  examples  hardly  come  sufficiently  within 
the  domain  of  architecti^re  as  a  fine  art  to  require  further  examination 
in  such  a  work  as  this. 

MoREsco  Style. 

The  history  of  the  Moresco  or